Characters / Charlie and the Chocolate Factory

Charlie and the Chocolate Factory not only has an unusually large cast of significant characters, but the bulk of them are Flat Characters in the original novel. The major adaptations — the 1971 film, the 2005 film, the 2010 opera, and the 2013 stage musical — all work to correct this issue, but take different directions in the process. Each folder thus starts with general tropes for the character(s) in question, and then moves on to additional and alternative tropes for their depictions in specific adaptations.

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The Heroes

     Willy Wonka 

I am preparing other surprises that are even more marvelous and more fantastic for you and for all my beloved Golden Ticket holders — mystic and marvelous surprises that will entrance, delight, intrigue, astonish, and perplex you beyond measure. In your wildest dreams you could not imagine that such things could happen to you! Just wait and see!
From Mr. Wonka's message on each Golden Ticket

Played by:
Gene Wilder (1971 film)
Johnny Depp (2005 film)
Daniel Okulitch (2010 opera's 2012 recording)
Douglas Hodge (2013 musical's Original London Cast Recording)
Christian Borle (2017 Broadway Retool of the musical)
J.P. Karliak (Tom and Jerry: Willy Wonka and the Chocolate Factory)

The most famous chocolatier in the world, and a Reclusive Artist ever since he was forced to temporarily close his factory due to espionage on the part of his rivals. The Impossibly Delicious Food his factory churns out, combined with the mystery of how he makes it when no one is seen entering or leaving the factory, has made him a Living Legend, and when he launches the Golden Ticket contest — five winners will receive a personal tour of the factory and a lifetime's supply of sweets — it becomes a global obsession. But all the tales that have sprung up around him and his factory pale next to the reality those winners are about to discover. Mr. Wonka spent his years in hiding turning his factory into The Wonderland, an Elaborate Underground Base of incredible beauty — some of it edible — that has technology as amazing as it is absurd; a world created in his own eccentric image. He is highly intelligent, imaginative, and fundamentally good, but also a Trickster who operates on a different plane of reality than the rest of the world. Whimsical though he may be, he is someone to be taken seriously.

See also the character profile at the official Roald Dahl website. As Mr. Wonka is an Interpretative Character to rival a certain Time Lord, further details about his personality in each major adaptation are summarized along with respective tropes.

In the novels and across adaptations:

  • Adaptational Attractiveness: He's much more conventionally handsome in the two films than he is in any illustrations of him, as a look at the gallery at his official profile will prove. (Also applies to The Golden Ticket; Daniel Okulitch had to be the second-youngest looking Wonka after Johnny Depp!)
  • Adaptation Dye-Job: As written, Mr. Wonka's Awesome Anachronistic Apparel is wildly colorful and clashing to Rummage Sale Reject levels; he also has a black goatee and his hair is usually colored to match by illustrators (though Quentin Blake went with gray Einstein Hair; this is more obvious when one looks at videos of the Alton Towers theme park ride, which works from his designs). Starting with the 1971 film, adaptations often go with a more coordinated ensemble, let the actor use his natural hair color, and lose the facial hair. The 2013 stage musical averts this trope in favor of working from the original description; whether the actor playing him goes with facial hair or not is up in the air, though (see Good Hair, Evil Hair below).
  • Alliterative Name: Willy Wonka.
  • Ambiguous Disorder: He is brilliant but far beyond the norm of social behavior and thinking, and not even a hint is dropped as to why in the novel and most adaptations — the sole exception is the 2005 film. Even in-story others wonder what's up with him:
    • The brats and their parents think he's legitimately insane, and in the sequel Charlie's other grandparents think this way as well.
    • Charlie and Grandpa Joe, by comparison, see him as sane in an unconventional way. This, in fact, is the heart of the trope named for Mr. Wonka.
  • Awesome Anachronistic Apparel: His outfit — top hat, tail coat, etc. — seems more appropriate to a Stage Magician or circus ringmaster than a chocolate factory owner. But then, he is no mere chocolate factory owner...
  • Benevolent Boss: Zig-zagged with regards to the Oompa-Loompas. There's the controversial, much-debated Happiness in Slavery issue, as well as the fact that he uses them as test subjects for his creations. However, they are a lot better off working for him than they were in Loompaland, even having the space to set up their own little towns and villages within the factory, and Mr. Wonka does what he can to rescue them when tests go awry. In the sequel novel, it's revealed that rather than waiting for the de-aged Oompa-Loompas to return to this plane of existence in time, he not only created an aging counterpart to the Wonka-Vite pills but journeyed into the sinister underground world of Minusland to administer it (at great personal risk to himself), simply because he cares about them that much.
  • Bold Explorer: Between the two books, it's clear that he's traveled extensively, even into fantastical places most people aren't even aware exist (i.e. Loompaland, Minusland), all in the service of his work. He even has extensive knowledge of the histories of other planets and alien races.
  • Brutal Honesty: While he does his best to reassure his panicking guests when the brats get into trouble that they're "bound to come out in the wash. They always do", he won't lie about what will and could happen to them either. Often, this honesty just makes matters worse, especially because he's so upfront about his Skewed Priorities.
  • Callousness Towards Emergency: Zig-zagged. When the four brats disobey him, he has No Sympathy as they end up in danger, calmly watching and snarking from the sidelines even as everyone else panics. Then again he actually knows how they can be rescued and restored, talking about the solutions as if they were standard emergency procedures (since they do have accidents like those from time to time) and assigning the Oompa-Loompas to attend to the victims. Then again he outright leaves Veruca and her parents' fate up to chance (maybe that incinerator isn't lit today!). Then again he is testing them, so his concerns for their safety are probably nonexistent. Then again they are all Hate Sinks and the reader is meant to take great satisfaction in their Laser-Guided Karma punishments. This zig-zagging is one of the key reasons Mr. Wonka is an Interpretative Character highly subject to Alternative Character Interpretations.
  • Conspicuous Consumption: While he appears to practice this at first glance, closer examination shows he averts it. Although he is rich beyond the dreams of avarice, and his factory is filled with exotic and outlandish things, they are all part of Wonka's reinvesting in his company. His vision of "Research and Development" is just not the same as yours or mine. In fact, we see his attitude towards this trope in the text itself: When a middle-eastern prince commissions Wonka to build him a palace made of chocolate, Wonka is shocked at the prince's declaration that he plans to live in it!
  • Cool Old Guy: Implied to actually be this in the novel and 2013 musical (see Older Than They Look below).
  • Crazy-Prepared: In the sequel, his Great Glass Elevator is revealed to be not only capable of space travel but also "shockproof, waterproof, bombproof, bulletproof, and Knidproof". "Knidproof" refers to the Vermicious Knids, carnivorous aliens that cannot survive passing through Earth's atmosphere, yet not only does Mr. Wonka know all about them, he's prepared to fend off an attack should he ever encounter them! And remember that until the end of the first book, he only ever used the elevator to get around his factory!
  • Creepy Good: On the one hand, he's a Large Ham Nightmare Fetishist Rummage Sale Reject and creator/master of a Crapsaccharine World / False Utopia that brings doom upon those who let their vices get the best of them. On the other, he's a Renaissance Man Jerk with a Heart of Gold, and those who prove worthy of that heart will be duly rewarded in time.
  • Cut Lex Luthor a Check: While Mr. Wonka clearly doesn't have any problem with money, inventions like the Television-Chocolate setup and the Great Glass Elevator would probably make him even richer and change the world. Except he never bothers to find any applicability to them outside of candy. (Justified in the 2013 musical owing to his Doing It for the Art motivation.) From the 2005 film:
    Mike Teavee: (Upon finding Wonka has a functional teleporter) Have you ever used it on people?
    Mr. Wonka: Why would I want to transport people? They don't taste very good at all.
  • Deadpan Snarker: He's prone to whimsical and sometimes stealthily insulting responses to the tour group's puzzled and/or rude remarks and questions. When Violet expresses disbelief that his storeroom of beans includes "has beans" he notes "You're one yourself!" Not long afterward, when he's explaining the purpose of Hair Toffee to the group, Veruca asks "Who wants a beard, for heaven's sake?" Mr. Wonka casually remarks "It would suit you very well..." Adaptations take his gift for snarking and run with it, with the 1971 and 2013 incarnations particularly gentlemanly.
  • Determinator: Everyone thought he was a case of How the Mighty Have Fallen after he sacked his original workforce. It took him months, perhaps years, and at the very least travel to distant lands was involved, but — alone — he found a way and a workforce to get his factory up and running again. This also, for both good and ill, was behind his creation of both Wonka-Vite and Vita-Wonk in the sequel — it took 132 tries to perfect the former, and then he had to create the latter and journey to Minusland to rescue the Oompa-Loompas who vanished via the first 131 tries. And again, he did this without any help from outsiders.
  • Deuteragonist: To Charlie Bucket's protagonist in the novel and most adaptations, but especially the 2013 stage musical, which reveals that the two characters have more in common than it would seem. By comparison, the sequel makes Mr. Wonka the protagonist and Charlie his sidekick.
  • Dissonant Laughter: In the novel, he breaks into peals of this after Augustus goes up the pipes, much to Mrs. Gloop's horror and anger, as well as when his Cool Boat races down the pitch-dark tunnel and the Great Glass Elevator takes off sideways (causing the Teavees and Buckets, who weren't expecting that, to tumble to the floor — he was the only one who grabbed on to an overhead strap). This is dropped from most adaptations, but in the 2013 stage musical when the other characters scream and panic when Augustus tumbles into the chocolate waterfall, he's promptly doubled over with laughter — until he catches himself.
  • Does Not Like Spam: He hates breakfast cereal; when Mike brings up the subject, he explains that "It's made of all those little curly wooden shavings you find in pencil sharpeners!"
  • Eccentric Mentor: He needs to find a proper child to mentor, though, and his method of doing so crosses this trope with Trickster Mentor.
  • Einstein Hair: Quentin Blake's illustrations give him gray, messy locks that seem to stick straight out, though his Nice Hat obscures them to an extent.
  • Explorer Outfit: In the original Joseph Schindelman illustrations, he wears this in the Oompa-Loompa village. Also turns up in the corresponding flashback in the 2005 film.
  • Fiction 500: He owns the world's largest chocolate factory — so big it has an entire subterranean river system made from liquid chocolate — and develops things like teleportation just to boost his advertising revenues. At one time he had a huge human workforce that he spontaneously sacked in its entirety due to industrial espionage issues (severance pay, anyone?); he then imported an entire unknown nation of people IN SECRET just to staff his factory, and had enough cash stockpiled to allow him to do this while the factory was closed and he was receiving no income. Better yet, he pays the Oompa-Loompa wages not in money but in leftover cacao beans, so every penny spent on a Wonka Bar goes straight to him! While Mr. Wonka tends to laugh a lot, he laughs really hard in the sequel when Charlie's family is concerned about money, telling them he "has plenty of that!"
  • Fun Personified: There are few situations that he can't lighten up with some humor. This is part of what makes him so unnerving to others, given the chaos that seems to swirl around his world. In the sequel, when he and the Buckets are in a space hotel, suspected of being spies, and asked via radio by the President of the United States to identify themselves, he takes advantage of the lack of a video feed to pretend to be an alien. He trolls the Earth for, apparently, nothing more than his own amusement.
  • Gadgeteer Genius: Considering he designed/built not only the Factory itself but such wonders as the Television Chocolate setup and the Great Glass Elevator, one suspects his skills go a bit beyond chocolate. And he has an army of Oompa-Loompas — some of which may have helped with or come up with the designs themselves.
  • Gentleman and a Scholar: He does love to boast about/show off his many wonders and brush off questions, but that generally stems from happiness and excitement rather than the superior manner of an Insufferable Genius. He is whimsical and tricky yet well-spoken and authoritative. He has quite a few traits of the Gentleman Wizard, in fact — he just doesn't have actual magical powers.
  • Good Hair, Evil Hair: A good goatee in the novel; some illustrators have given him a dainty mustache as well. In the 2013 musical, Douglas Hodge's Wonka has a chin tuft and a neatly-shaped, slender mustache; overall, this gives an intimidating twist to his look. Starting with the 1971 film, most adaptations have him clean-shaven, and Alex Jennings and Jonathan Slinger, Hodge's successors, followed suit (though understudies followed Hodge's precedent). The Broadway production goes with a clean-shaven Wonka as well.
  • Gut Feeling: He admits, in the end, that he suspected from the start that Charlie would prove to be the heir he was seeking.
  • Hand Rubbing: During the visit to the Inventing Room in the first book, he spends a few moments excitedly dashing about the various stoves, cauldrons, etc. to check up on things. At one point, "he peered anxiously through the glass door of a gigantic oven, rubbing his hands and cackling with delight at what he saw inside." (Please disregard that this trope is usually associated with villains...)
  • The Hermit: He was this for a time in the backstory, after he closed his factory — he completely broke off contact with other people and vanished from the public eye. Eventually he discovered the Oompa-Loompas and hired them as a new workforce, though he remains an in-universe Reclusive Artist.
  • Hypocrite: He considers chewing gum "really gross" and detestable, yet seemingly sees no wrong in making profit from selling it — he explicitly states his desire to get that flawed gum right so he can sell it. He also disdains fat children yet sees no wrong in selling chocolate and candy in general, even though sweets are a key cause of childhood obesity.
  • Iconic Item: His walking stick, though not as iconic as the top hat, turns up in all adaptations. Its design varies from version to version.
  • Iconic Outfit: His Nice Hat (see below) — approaches to his actual suit vary from version to version, but he always has a hat and it is always a top hat, usually a black one.
  • Impossible Genius: Though he'd scoff at the term, as he believes "Nothing is impossible!" A television-based teleporter? An elevator/functioning spacecraft that he claims runs on "candy power" and/or "skyhooks"? Ice creams that never melt or are hot? Candy apple trees that can be planted? "Magic Hand-Fudge — When You Hold It In Your Hand, You Taste It In Your Mouth"? Truly this is a man who has harnessed nonsensoleum to incredible ends.
  • Inexplicably Awesome: He has no family, no stated place of origin. Even his age is uncertain (he looks middle-aged but...). Where did he come from? How did he become who he is and embark upon such amazing successes and travels? How did his priorities become so skewed that they approach Blue and Orange Morality? Only the 2005 film outright attempts to answer these questions. The 2013 stage musical says only this much:
    Despite the man seen at these doors
    My childhood home was bland like yours
    But I knew how to look to find
    A world that wasn't color-blind
  • Interpretative Character: The enigma that is a Mad Scientist of candymaking with a unique way of thinking, seriously Skewed Priorities, especially with regard to the fates of those who don't heed him, and Trickster tendencies — not to mention the eternal question of whether he intends to get the kids into trouble by dangling dangerous temptations before them (as it's likely he knows their flaws/weaknesses, given the contest press coverage) — allows for a wide range of interpretations, as seen below.
  • Jerk with a Heart of Gold: While he's cheerful and pleasant, he has his moments of Jerk Assishness, particularly when members of the tour group pester him with questions...or get themselves into trouble.
  • Large and in Charge: While he isn't suggested to be particularly tall/physically imposing in most illustrations and adaptations, he's a justified example of this trope in that he towers over his entire workforce, which is a race of Lilliputians / Little People!
  • Large Ham: Mr. Wonka's mysterious, fantastical nature and boundless energy means that actors portraying him have to be large hams by default. Gene Wilder's What the Hell, Hero? rant in the climax of the 1971 version has become a Memetic Mutation, but he gets plenty of other scenery-chewing moments. Johnny Depp not only chews the scenery in the 2005 film, he gulps it down with vodka and asks for seconds. The 2010 opera has the character written as a Badass Baritone. Douglas Hodge's portrayal is a more Hot-Blooded take; even when he's in a calm and reflective mood, he's positively thrumming with energy and zest for life and its possibilities. (It is very telling that Hodge and his successors Alex Jennings and Jonathan Slinger are all bonafide Shakespearean Actors.)
  • Literal-Minded: Sometimes, with regards to how his sweets are made — the whipped cream his factory produces is whipped with actual whips.
  • Living Legend: He's the greatest and most famous candymaker in the world, and his legend only grows after he becomes a recluse yet manages to get his factory up and running again even as no one ever enters or exits it...
  • Mad Scientist: Yes, this trope can be applied to confectionery! This doesn't even get into such wonders as the Great Glass Elevator and (in the sequel) the de-aging and aging formulas.
  • Manchild: Downplayed. He is mature enough to be one of the world's great businessmen and inventors, but he still has a child's creativity, enthusiasm, wonder, impatience, and — to a lesser extent — innocence, rather Ambiguous Innocence at that. (The voice Douglas Hodge gave him in the 2013 musical is a deliberate reflection of this: A rich adult tenor afflicted by the tipsy, quirky inflections and pitch shifts of a child's voice "breaking" upon hitting puberty.)
  • Mr. Exposition: In the first book, he explains the Backstory of the Oompa-Loompas; in the second book, he explains the same for the Vermicious Knids. Later, he has to deliver lengthy explanations of how he created both Wonka-Vite and Vita-Wonk.
  • Nice Hat: Wears a top hat in the novel and all adaptations. Canonically it's black and most adaptations follow suit, but he has a caramel topper in the 1971 film. (There's no way that can't sound like a euphemism.) That version also has the following dialogue:
    Veruca: Who says I can't?
    Mr. Salt: The man in the funny hat...
  • Nightmare Fetishist: The fact that he's usually calm and collected, and even amused, while witnessing at the awful fates that befall the brats bespeaks these tropes! See also the boat tunnel in the 1971 version and his tendency to gleefully join in on the Oompa-Loompa songs in the 2013 musical.
  • No Sympathy: The tour group learns the hard way that he hasn't much sympathy for those who ignore his warnings and get themselves into trouble (after all, he did warn them). His Skewed Priorities don't help. This trait is particularly pronounced in the 2013 musical.
  • Obfuscating Insanity: Wonka is a genius confectioner in every sense of the word but he comes across as weird, apathetic and nonsensical. Wonka has a method in madness to his work, the only reason he responds with apathy to the trials of the bratty children is because he knew what would happen to them such as Augustus being overwhelmed with gluttony when he is taken to a room where everything can be eaten. He does warn them to be careful but the parents regard him as a sadistic madman.
  • Older Than They Look: In the novel, he has been a recluse for ten years when the story begins, and looks middle-aged when he emerges for the tour. But at the end he tells Charlie that he actually fits this trope: "I'm an old man. I'm much older than you think." Other versions take different tacks on his age:
    • In the 2005 film, based on the flashbacks he's somewhere around his 40s, but can still qualify to be around 30 or even still in his late 20s — partially due to Johnny Depp appearing to be that age.
    • In the 2013 musical, he has been a recluse for over 40 years; according to Charlie's grandparents, he was producing sweets when Mahatma Gandhi was alive. He still looks middle-aged (role originator Douglas Hodge was 53 when the show opened), but when he tells Charlie "I'm a lot older than you think" there's no denying that this Trickster is being honest. His Obfuscating Disability trick when he first appears even plays on this, as he claims "I'm afraid that I might fall/For my eyes and knees/Have grown frail behind this wall".
  • Omnidisciplinary Scientist: Especially when one takes the sequel into account, his work suggests he is an expert in at least three fields — chemistry, engineering, and astrophysics. Of course, he's apparently stumbled into some of this just by throwing things together and seeing what works; the discovery of the substance that he perfected into the fountain-of-youth pill Wonka-Vite was pretty much accidental.
  • Outside-Context Problem: He's this to the Vermicious Knids (themselves outside context villains to most of humanity) in the sequel. When they take over the space hotel, they have no idea that one of the visitors knows what they are and what they're vulnerable to, and even has a vehicle that's Knidproof.
  • Parental Substitute: The 1971 film implies that he'll become a father figure to Charlie (whose father suffered Death by Adaptation before the story begins). In the opera The Golden Ticket, the situation is much clearer: Both of Charlie's parents have been Adapted Out, and after Mike Teavee is shrunk, Grandpa Joe volunteers to stay behind and comfort Mrs. Teavee while Veruca and Charlie head to the next room. Veruca has her father with her, but now all Charlie has serving as a "guardian" figure is Mr. Wonka himself...
  • Pet the Dog: In the novel, 2005 film, and 2010 opera, during the boat ride he scoops two mugfuls of melted chocolate from the river for Charlie and Grandpa Joe to enjoy, having noticed how thin and bony they look. (In the 2010 opera, this is on top of the heavy implication that Mr. Wonka is also the sweetshop owner and thus is responsible for Charlie finding a Golden Ticket in the first place.) Interestingly, both the 1971 and 2013 adaptations leave this bit out, which means Mr. Wonka doesn't get a "definitely a nice guy" moment and his Trickster nature becomes more pronounced. Only at the end of both, once Charlie proves he's earned the grand prize, does he fully let his inner kindness show.
  • Pungeon Master: Many of the things his factory produces involve punny wordplay ("butterscotch and soda", "has beans", etc.). In the 1971 film he tosses a shoe into a cauldron of something-or-other because it "Gives it a little kick." In the 2013 musical, he has such lyrics as (from "Simply Second Nature") "And me, I take sweet honey/And make a tasteful rose".
  • Purple Is Powerful: He wears "a tail coat made of a beautiful plum-colored velvet". Given all these surrounding tropes, he certainly fits this trope's need for a purple-wearer to be powerful and cool.
  • Reclusive Artist: In-universe. The 2013 musical plays up the artist part.
  • Reed Richards Is Useless: He can make a meal come out of gum, an ice cream that stays cold and doesn't melt in the sun, build a chocolate palace without a metal framework, can teleport things into TV screens, and has anti-gravity technology - yet he only applies his know-how to candy. This is lampshaded by Mike Teavee in the 2005 film. Then again, considering what happens to Mike, can anyone blame Mr. Wonka for having no desire to apply his teleporting technology to people?
  • Renaissance Man: He's a Supreme Chef, a fabulously wealthy businessman, an architect, a Bold Explorer, a Gadgeteer Genius, a Mad Scientist / Omnidisciplinary Scientist, fluent in at least two languages (English and Oompa-Loompish), incredibly eloquent, and able to recite/create poetry on the fly!
  • Rounded Character: He's the only character in the novels that qualifies as this, and adaptations tend to further expand on his complex personality.
  • Rummage Sale Reject: Even back in 1964 when it was written, Mr. Wonka's outfit was Awesome Anachronistic Apparel — but then there's the colors. Plum tail coat, bottle-green trousers, pearly gray gloves, black top hat, etc. See Adaptation Dye-Job above for more on this. This does not keep him from being a...
  • Science Hero: A good-kind-of-crazy Mad Scientist hero, to be specific, one who uses his abilities in the service of making and marketing the best candies in the world. As the sequel proves, though, he can turn his talents to more urgent needs as well — i.e., saving humans from shapeshifting aliens or figuring out how to re-age people into this plane of existence.
  • Sharp Dressed Man: Eccentric though his outfit looks, it is beautifully tailored and he is extremely well-groomed.
  • Skewed Priorities: Related to his Callousness Towards Emergency, he definitely cares more about the production and the quality of confectionery than the safety of people. He assures Mrs. Gloop that her son won't be turned into fudge "Because the taste would be terrible"! (In the 1971 version, as he watches Augustus drown in his chocolate river: "My chocolate! My beautiful chocolate!") Also, he seems to be more concerned with attractive aesthetics ("I insist upon my rooms being beautiful!") and the Rule of Cool than practical issues in designing his factory, resulting in the whole place falling under No OSHA Compliance.
  • Staff of Authority: Bespeaking his Living Legend, Fiction 500, and Older Than They Look status, he always carries "a fine gold-topped walking cane" — though he seems much too sprightly to need it. Like the Nice Hat, it's a vital part of his ensemble in all adaptations, though the design varies from version to version.
  • Supreme Chef: On a grand scale, having invented all of the confections his factory produces.
  • Terms of Endangerment: He tends to address the Golden Ticket tour group members as "My dear [blank]". He may not be a villain, but he is a Trickster, and he uses such sweet talk to "politely" discourage others from questioning him, defuse the parents' anger at him when their bratty children are horrifically imperiled, and generally mask his true feelings about his mostly-nasty charges.
  • Trickster Mentor: The whole point of the Golden Ticket contest and tour is to find a child whom he can train as a successor. The 1971 and 2013 incarnations, in particular, love speaking in riddles and Koans and confusing the tour group.
  • Waistcoat of Style: Usually has one in illustrations, as well as in the 1971 film and 2013 musical.
  • Windows of the Soul: The book's introductory description of Mr. Wonka's appearance gives special attention to his blue eyes, noting them as "most marvelously bright. They seemed to be sparkling and twinkling at you all the time. The whole face, in fact, was alight with fun and laughter." In hindsight, this is a clear sign of his merry, mischievous Trickster nature.
  • The Wonka: Trope Namer: An eccentric and successful business owner.

In the 1971 film:
"Are we ready? Yes. Good. On we go!"
Mr. Salt: What is this, Wonka, some kind of fun house?
Mr. Wonka: (seemingly surprised) Why, having fun?

This Wonka is gracious, friendly, pleasant, exceptionally well-read — and simply cannot be trusted. Unfortunately, by the time that last point is figured out by his guests, they have no choice but to keep following his lead no matter how wild and woolly things become. Moreover, virtually nothing gets past him, which becomes a problem for Charlie in the late going...

  • Anti-Hero: Despite being a Consummate Liar and Trickster with a temper it's best not to disturb, he remains Creepy Good. The Reveal that Slugworth's plot is actually another way for Mr. Wonka to test the children boils down to him using tricky means to reach a virtuous end.
  • Beneath the Mask: Initially he comes off as just a quirky sweetness-and-light guy, but he turns out to have a darker side and, late in the game, a dangerous temper. See Surprise Creepy below.
  • Casual Danger Dialog: He's like this throughout the movie, reaching his high point when Mike decides to jump into the TV teleporter; Mr. Wonka, having given warnings to the other kids before the factory claims them, attempts to warn Mike in a tone somewhere between exhausted and bored. You can tell the guy's done caring by this point.
  • The Charmer: He's a non-sexualized example. He is so charming and pleasant, particularly towards the children, that even as his darker, snarkier side begins to show his guests still follow his lead and get caught up in the middle of wacky (i.e. "Just through the other door, please.") and/or creepy hijinks. This is most obvious with the boat ride ("You're going to love this...just love it.") and goes hand in hand with his being a Consummate Liar.
  • Chewing the Scenery: He does this during the boat ride and when delivering his What the Hell, Hero? speech.
  • Comical Overreacting: His reaction to the sight of Augustus drinking from the river quickly escalates into this and gets worse when he falls in! The thing is, all along he's more concerned with his chocolate being contaminated than the kid's welfare; he quickly calms down as the boy is sucked up the pipe. This presages his much more seriously-played Chewing the Scenery later on.
  • Consummate Liar: Gene Wilder's guiding principle in playing Mr. Wonka was the conceit that neither the audience nor characters would be able to tell whether he's lying or not at any given moment, and this is why his Establishing Character Moment is what it is.
  • Cool Key: It's a flute key!
  • Dissonant Serenity: He tends to slip into an absurdly calm-and-collected state when the bratty kids are getting themselves into trouble, though in the case of Augustus his reactions alternate between this and Comical Overreacting. Even Mr. Beauregarde threatening him over Violet's transformation doesn't faze him.
  • Establishing Character Moment: See Obfuscating Disability below.
  • Face Palm: Does this during Veruca's "I Want" Song, as he watches her smash up the golden egg room.
  • Heroic B.S.O.D.: After the tour, he seems to be dejected as he sorts out his mail in his office while Charlie and Grandpa Joe are asking about the lifetime supply of chocolate, upset at the thought of even Charlie having disappointed him via the Fizzy Lifting Drinks incident. Mr. Wonka really doesn't think any child would be the right fit to inherit the factory. He even describes the prior events as "whole day wasted" as he initially shows Charlie and Grandpa Joe the door. This dark mood leads directly into his What the Hell, Hero? speech.
  • "I Am" Song: "Pure Imagination", which has some of the best I Am Choreography one could want.
  • Iconic Outfit: His ensemble — purple coat, white shirt, floral Waistcoat of Style, bow tie, brown trousers and matching top hat — is the go-to image for pop culture depictions of the character to this day, superseding the more garish/mismatched suit of the novel.
  • Insane Troll Logic: His explanation for the Road Trip Across the Street in the Wonkamobile rather than just walking to the next room? "If the Good Lord had intended us to walk, He wouldn't have invented roller skates."
  • Lost in Imitation: Most examples of Charlie and the Chocolate Parody take off from this movie and thus Wilder's interpretation of the character. Wilder also set the precedent for Mr. Wonka being depicted as clean-shaven in almost all subsequent adaptations, and his costume has become an Iconic Outfit.
  • Magical Flutist: He plays a twittering tune on his flute key to summon Oompa-Loompas when he needs to give them instructions.
  • Motor Mouth: Often slips into this when he's excited (hence the Verbal Backspace of "Strike that, reverse it") or just needs to dismiss others' concerns. His response to Mr. Beauregarde asking about the fine print on the contract is "Oh, if you have any questions, dial information, thank you for calling."
  • Non Sequitur: Most of his strange comments and quotes kind of follow on from other people's questions, but his response to Veruca asking what a snozzberry is — "We are the music-makers, and we are the dreamers of dreams", a quote from a poem by William Edgar O'Shaughnessy — is this.
  • Not So Stoic: Throughout the film Wonka is always reserved and smiling, and seems to know everything before it happens. Even his explosion with Charlie at the end is nothing but an act. There are only two point where he genuinely seems to lose his cool.
  • Obfuscating Disability: He walks out limping with a cane, then sets the cane aside and does a somersault.
    • Invoked as an Establishing Character Moment by Gene Wilder. He requested the scene so that the audience would immediately understand how unpredictable Wonka would be.
  • Obfuscating Stupidity: At least some of his quirky behavior is this, to prevent others from forming outside attachments to him (as the Slugworth subplot proves).
  • Parental Bonus: Mr. Wonka isn't a case of Speaks in Shout-Outs, but he loves to pepper his dialogue with literary quotes or the odd snatch of song, all of which qualify as this.
  • Pass the Popcorn: His reaction to the sight of Augustus Gloop getting stuck in the pipe (he's nibbling some sweets).
  • Quirky Curls: Due to Gene Wilder's actual hair being tightly-curled and frizzy, Mr. Wonka gets these as a side-effect of the Adaptation Dye-Job.
  • Rant-Inducing Slight: Grandpa Joe pressing him about why Charlie was disqualified from the lifetime supply of chocolate triggers his What the Hell, Hero? speech.
  • Restored My Faith in Humanity: By the end of the film, he's become dejected after years of people stealing his secret recipes and all five children, even Charlie, fail to measure up to his expectations, and slinks into his office considering the day a waste. When Charlie, accepting that he did fail, chooses to give back the Everlasting Gobstopper rather than sell it to Slugworth, he not only proves himself worthy to Wonka and atones for his mistake, but helps Wonka to see the good in the world again.
    Wonka: So shines a good deed in a weary world...
  • Secondary Character Title: Although not the case in the original book or the second adaptation of it (known as Charlie and the Chocolate Factory), in this film the titular Wonka, though an important character, is the owner of the titular factory to which the main protagonist Charlie wins a trip.
  • Songs in the Key of Lock: Besides his flute key, the door to his main chocolate room opens to a tune by Mozart.
  • Surprise Creepy: Of all incarnations, this Wonka initially comes off as the calmest, least hammy, and most "normal" of the lot. As the tour begins and progresses through the Chocolate Room, however, it becomes apparent that he has a dark streak going, and the boat ride reveals just what a Large Ham and Nightmare Fetishist he actually is.
  • What the Hell, Hero?: Mr. Wonka lets poor Charlie have it when he reveals that he knew about him taking the Fizzy-Lifting Drinks. Grandpa Joe tries one of these on him in response, but it doesn't work. (That said, after Charlie returns the Everlasting Gobstopper to him, he is not only overjoyed by Charlie's virtue but asks forgiveness for his outburst.)

In the 2005 film:
"Good morning, star shine! The Earth says 'hello'!"
Everything in this room is eatable. Even I am eatable, but that is called cannibalism, my dear children, and is in fact frowned on in most societies.

This youthful-looking fellow is at least as brilliant as any of his other incarnations when it comes to sweetmaking, but unlike them is completely lacking in social skills and graces to the point that even the Golden Ticket finders come off as more mature than he. His arrested development stems from a heartbreaking experience in his past that he has never quite been able to put behind him — and is coloring what he wants from a successor in the present.

  • Adaptational Angst Upgrade: His Daddy Issues.
  • Adaptational Jerkass: Due to both Character Exaggeration and a Not His Sled twist (see below), Wonka is less likable/charming and generous than in other versions. Luckily, he gets better by the end of the film.
  • Adaptation Expansion: Mr. Wonka's backstory and his dentist father who hated chocolate. This expansion is for much the the same purpose as the Slugworth subplot in the '71 version, an effort to give the story a more complex ending.
  • Adaptation Personality Change: Of the major adaptations, this Wonka is the furthest from his book counterpart, going from a charming, confident Trickster Gentleman and a Scholar to an Insufferable Genius with No Social Skills.
  • Anti-Villain: In order to achieve his goal of finding a proper heir, this Wonka believes he must tear a loving family apart, uncaring of what said heir thinks of this, sending him into this territory. Again, he does come around.
  • Badass Longcoat: He is almost always seen wearing a black or red trenchcoat.
  • Bad "Bad Acting": In an attempt to get around his social awkwardness, some of his tour spiel is on index cards. When he reads from them — the first time he does this is as he's introducing himself — he falls into this trope's "stilted and monotone" flavor.
  • Big Entrance: He's supposed to make this at the end of the puppet show, but he wanted to watch it instead of be in it, so he quietly joins the Golden Ticket group while it's in progress. They don't notice him until it's over and they realize that someone's applauding.
  • Blatant Lies: He denies that the Oompa-Loompas' songs about the mishaps happening to the children were prepared in advance, even though they clearly were.
  • Blind Shoulder Toss: Does this with Mr. Salt's business card as soon as it's given to him.
  • Braces of Orthodontic Overkill: As a child.
  • Character Exaggeration: Not only does Depp exaggerate the oddness and enthusiasm of the original, he also picks up on the not-quite-hidden apathy for the other children and turns it into outright dislike. He's also much more obvious in his Magnificent Bastardry, like not opening the gate in the nut sorting room: if you watch closely, he finds the right key before Veruca goes down the chute, but the gate doesn't open until she's already gone.
  • Conspicuous Gloves: Downplayed. While Mr. Wonka wears gloves in the novel, that's in service to his outdated Rummage Sale Reject look. The pale purple gloves the 2005 Wonka wears seem just a by comparison. It turns out that the gloves and his tunic-esque shirt are similar to those of Dr. Wilbur Wonka's dentist scrubs. Willy's fashion sense is, unconsciously, partially inspired by his father.
  • Decon-Recon Switch: While the novels and most adaptations regard Mr. Wonka as Inexplicably Awesome, director Tim Burton and screenwriter John August present his eccentric, effectively solitary nature as the result of being estranged from his father over his choice of career. And rather than Creepy Good, he's an Anti-Villain who embodies off-putting social awkwardness rather than charm and creeps out the other characters at all times. The reconstruction comes as he is capable of reaching a happy ending, provided he can stop being a freakish loner and start relating to others again.
  • Denied Parody: Tim Burton went on record as saying this Wonka was NOT a parody or Expy of Michael Jackson after the bulk of reviews pointed out the similarities between the two figures — and, at least in Roger Ebert's review, actually counted it as a point against the film because it came off as so creepy. This is a rather plausible denial, as the resemblances between the two — both are soft-spoken, pale, Uncanny Valley-appearing Reclusive Artist Man Children — owe more to Burton's usual character aesthetics and Depp taking inspiration from Vogue magazine editor Anna Wintour in appearance and the original novel's characterization in personality. (Jackson himself had sought the role out when the project was announced for that reason.) Unfortunately, the superficial similarities came along just after Jackson's months-long trial on child molestation charges wrapped up (the nature of the Not His Sled twist in this version may not have helped).
  • Dissonant Serenity: Even more so than his 1971 counterpart. This Wonka keeps on smiling even as the kids are going through horrifying things right in front of him, with the sole exception of the scene where he runs for cover as Violet turns into a blueberry.
  • Emotionally Tongue-Tied: He has a hard time saying the word "parents" — he can't get past the P-sound without looking as if he's about to vomit.
  • Excited Kids' Show Host: By Johnny Depp's design, this Wonka's surface mannerisms owe a lot to this trope...and he's always "on".
  • First Gray Hair: Currently provides the page quote for this trope. Willy Wonka reveals to Charlie that this made him realize he was getting old and needed to find an heir.
  • Flashback: Lampshaded!
    Mr. Wonka: (in a dazed way) I'm sorry, I was having a flashback.
    Mike Teavee's Dad: (disturbed) These flashbacks happen often?
    Mr. Wonka: Increasingly... today.
  • Freudian Excuse: Okay, he's not evil, but his behavior is partially due to his harsh childhood.
  • "I Am Great!" Song: The puppet show song that the tour group views outside the factory entrance is specifically about how awesome he is. Tellingly, he's supposed to be revealed at the end of the performance, but instead turns out to be watching it with the others! (While the song is known as "Wonka's Welcome Song", it doesn't really count as a Welcoming Song as it's all about him.)
  • Insufferable Genius: Rather than the whimsical Gentleman and a Scholar / Gentleman Snarker of the novel and other adaptations, this Wonka is a socially-awkward braggart — he's still brilliant, but childishly so.
  • I Take Offense to That Last One!: As Charlie is shining Mr. Wonka's shoes after refusing to move to the factory:
    Charlie: I met him. I thought he was great at first. Then he didn't turn out that nice. And he has a funny haircut.
    Mr. Wonka: (throws down the newspaper he's reading) I do not!
  • Jerk with a Heart of Gold: In this version, this trope doesn't fully surface until the climax.
  • Keet: Johnny Depp makes — by far — the cutest, youngest-looking, and most effeminate Willy Wonka, and the more excited he is the cuter he gets.
  • Licking the Blade: Defending himself from one of Loompaland's vicious, giant insects, he manages to cut it in two with a machete. Noting the goo that leaves on the blade, he licks it off, because one never knows when one might find an ideal new ingredient (seeking such was what brought him to Loompaland to begin with).
  • Lonely at the Top: He doesn't realize it initially, but his decision to defy his father to follow his dreams, and to a lesser extent his subsequent decision to shut himself away from the rest of the world (with only his Oompa-Loompa workforce to interact with) to protect his recipes, has left him emotionally stunted and inwardly unsatisfied despite his huge success. It's only when he reconciles with his father and accepts the Bucket family into his life that he can start on the path to being well-adjusted. This is related to...
  • Loners Are Freaks: This is the only adaptation to date that regards Willy Wonka in these terms. In other versions, he is certainly isolated and separate from "regular" people, largely by choice and partially owing to his eccentricity, but it's not presented as a bad thing.
  • Manchild: This trope is exaggerated compared to other versions of the character. One of the many ingredients Depp named for his Wonka was a "bratty child". He's a stubborn, moody, frighteningly careless, easily delighted, self-absorbed braggart, who argues with the rotten kids just below their level, doesn't seem to understand adult behavior, and harbors some very silly ideas about science and geography. The good news is that he presumably ends up best friends with Charlie, who becomes a sort of spiritual mentor to him.
  • Missing Mom: We never see his mother — just his father — and no explanation for this is given.
  • No Social Skills: Though he does have a very good Freudian Excuse.
  • Not Even Bothering with the Accent: Johnny Depp as Willy Wonka, who clearly doesn't have his father Wilbur's British accent. Granted, Mrs Wonka never appears and she could have been American, but Willy does have a British accent as a child!
  • Not His Sled: Mr. Wonka initially refuses to allow Charlie to take his family to the factory to live with him, contrasting with the endings of all other versions.
  • Obliviously Evil: He honestly doesn't understand why Charlie isn't willing to leave his family so he can inherit the factory.
  • Out-of-Character Moment: His giving Charlie and Grandpa Joe the mugs of waterfall-mixed chocolate. As noted above, this is a Pet the Dog bit lifted from the novel, but aside from this he doesn't show sincere concern for anyone besides himself until the denouement.
  • Perpetual Smiler: He always seems to be cheery and perky, but this is hinted to be a front to cope with his daddy issues.
  • Rags to Riches: Mr. Wonka's backstory is this, as he ran away from his father and apparently raised himself by bootstraps into his position as chocolate king.
  • Reading the Stage Directions Out Loud: Falls into this once with the aforementioned index cards: "I shake you warmly by the hand!"
  • Self-Made Man: Unlike in the book, here it is clear that he got no help whatsoever from his own family.
  • Smug Snake: While Depp's Wonka has his Magnificent Bastard side to him, he's played more like this with his fake smiles and mannerisms. He has his own introductory song (sung by puppets) about what a great and brilliant guy he is, and is so certain that Charlie will abandon his own family to own the factory that he falls into depression when Charlie refuses, being unable to comprehend the family's importance to him.
  • Socially-Awkward Hero: Although this Wonka has No Social Skills, he is no less fearless about travelling into Hungry Jungles, flying about in a glass elevator, etc. than his counterparts in other versions. On top of that, he's been on his own since his father abandoned him — and he was a kid at the time.
  • Stepford Smiler: He is inwardly depressed despite his cheery exterior, the result of trying way too hard to put his past behind him.
  • Tastes Like Friendship: In the Oompa-Loompa village, he sampled a bowl of mashed caterpillars during his meeting with the Oompa-Loompa chief.
  • Totally Radical: How he speaks to children, with slang and references that wander from The '50s to The '70s. It's a side effect of his isolation Played for Laughs.
  • Trauma Button: Charlie's innocent questions about Mr. Wonka's youth (and his "Candy doesn't have to have a point" comment) unknowingly trigger his flashbacks to his ill-fated relationship with his father, causing him to space out in the present.
  • Unreliable Expositor: He attempts to pass off the Oompa-Loompas' songs as skilled improvisation when the others have reason to suspect that they (and by extension he) know more about the bratty kids and their fates than they're letting on.
  • Watch Out for That Tree!: Mr. Wonka and glass doors. (thud!)

In the 2010 opera:

Yes, it's me!
I, Willy Wonka, the great and magnificent!
I, the sorcerer! I, the scientist!
I, the magician!
I, the weaver of chocolate spells!
I, the creator of sugary secrets!
I, the mysterious! I, the unknown!
I, Willy Wonka, greet you all!

A grandiose, commanding figure with a Badass Baritone, he is noticeably less wacky and snarky than his counterparts, his eccentric appearance notwithstanding. He is also leading a double life as the owner of a sweetshop that Charlie sometimes visits...

  • Adaptation Dye-Job: Blonde.
  • Anonymous Benefactor: To Charlie Bucket.
  • Badass Baritone: He's written as a bass-baritone, never mind that the novel says "His voice was high and flutey." Other musicalizations have him as a tenor.
  • Badass Boast: See the lines quoted above — they follow directly on from his Big Entrance.
  • Badass Longcoat: He wears a purple one for his Big Entrance at the end of Act One. His primary costume is a white plaid three-piece suit, which deliberately echoes Charlie's grey plaid winter jacket.
  • Big Entrance: Arrives to greet his guests via a hot-air balloon that soars up and over the factory wall.
  • Composite Character: This Wonka is crossed over with the book's sweetshop owner. As "Mr. Know", he runs a small chocolate shop built into the factory's outer wall, and after getting to know Charlie better in the "Chocolate Geniuses" sequence midway through Act One, sells him the Wonka Bar with the last of the Golden Tickets in it. It's telling that the show doesn't have a reveal regarding this, instead letting the audience figure things out on their own. Daniel Okulitch didn't even affect different voices for them. Charlie, for his part, never figures out what's going on.
  • Cool Key: He bequeaths an ornate key to Charlie upon declaring him his successor, which apparently works for the whole factory.
  • Flowery Insults: This Wonka is more direct with his insults to the naughty kids when the chips are down for them, noting that Violet has "gone too far./She's grown too big./She's like a bloated, purple pig."
  • Grumpy Old Man: Downplayed with his disguise/persona as Mr. Know, who doesn't much care for answering questions and suggests to Charlie (when he's despairing over not finding a Golden Ticket) that Mr. Wonka is "a silly and strange old man!" but is otherwise a nice guy.
  • King Incognito: Apparently just running the world's largest chocolate factory wasn't enough to keep him busy...
  • Mr. Exposition: Played with: As Mr. Know, he doesn't answer Charlie's questions about the factory or why Mr. Wonka's launched the contest, but the discussion itself is still enough to get the audience up to speed on what's going on as this adaptation begins In Medias Res.
  • Rule of Seven: He chalks up his Gut Feeling that Charlie would be the last kid standing to his "seventh sense".
  • Sarcasm Mode: As Mike chases the bubbles in the Bubblevision room: "Ah, three good little children. The others were bad. But I'm sure you won't disappoint me."
  • Sdrawkcab Alias: The shop window claims its proprietor's name is "A. Know" — a reversal of Wonka.
  • Wig, Dress, Accent: Fits the first two parts of the trope in that he wears a messy gray wig and thick glasses as Mr. Know. He doesn't disguise his voice, though.

In the 2013 musical:

Let's hope that you're a bit like me
As you walk through my factory
For in the end there's quite a prize
If you can see with more than eyes...

Sugar and ice, as opposed to spice...that's what the most intimidating Wonka to date is made of. Beneath mannerisms, style, wit, and lack of sympathy worthy of a Large Ham Disney Animated Canon villain, there lies the soul of a sensitive, if mad, artist. But in a world where even children seem to toss away their potential for creation in favor of consumption as soon as they're able, is there a kindred spirit that can melt the ice around his heart?

  • Absent-Minded Professor: During the long, twisting run down corridors from the Inventing Room to the Nut Room, he notes that he once got lost in his Big Labyrinthine Building and still hasn't found his way out of it. Not-so-incidentally, the Inventing and Nut Rooms are right next to each other. Actually he's ventured into the "real" world more than once recently and probably leads the tour group on the circuitous path for his own amusement.
  • Affectionate Gesture to the Head: As the Great Glass Elevator descends to Earth at the end of "Pure Imagination", he gives Charlie's hair a friendly ruffle.
  • Ambiguous Disorder: The lyrics to "Simply Second Nature" include mention of "all the voices in my head," implying he may be schizophrenic. Not helped by the line being not sung, but rather spoken in a broken-sounding voice. There are other hints dropped that he may not be all that right in the head. At the very least, he's clearly got a case of schadenfreude.
  • Ambiguously Evil: He could leave parody Wonkas who are presented as wicked quaking. He's unnervingly hammy and can even do an Evil Laugh; he won't give a drop of sympathy to those who imperil themselves in his dangerous, temptation-filled world — even if they should perish! Once the brats pass the point of no return in disobeying him, he tends to stand back and let them suffer through their karmic punishments/humiliations (when Veruca goes through the gate to the Nut Room's arena, he thoughtfully relocks it behind her — for the others' protection or her punishment?). While he does set his Oompa-Loompas to work rescuing Augustus and Violet offstage, it's suggested Veruca and her father can't be saved from the incinerator, and as for Mike, he has no qualms letting Mrs. Teavee just take the now-shrunken boy home, as she prefers him in this state. Still...he's sensitive in the best ways as well as the worst and capable of amazing generosity to those who win his favor. This darker portrayal is by design; David Greig, who wrote the book of the musical, noted in a Twitter chat that while the novel has No Antagonist, "I started to wonder about the dark side of Willy and realized he is a goodie AND a baddie." Director Sam Mendes' take is similar: "Is he your mischievous favorite uncle? Or is he the devil incarnate? Is he in control of the Oompa-Loompas? Or are they in control of themselves? You can't work it out."
  • Based on a Dream: In-universe, "Simply Second Nature" suggests that at least some of his creations are drawn from his dreams ("It's simply second nature/To dream of something new/Then wake on fire and try to sculpt each day").
  • Beneath the Mask: Beneath his bluster, iciness, and lack of sympathy for the disobedient, he is a sensitive artist who is self-aware and aware of how others see him, and even worries about his own sanity ("And though some nights I dread/All the voices in my head"), though he remains happy to be who he is. His desire to have others recognize and appreciate what he's managed to achieve is actually one reason for his boastfulness. Sadly, because most of his guests are afflicted by Creative Sterility, they find what lies beneath his mask just as odd, if not as frightening, as the mask itself.
  • Berserk Button: Insulting his creations. He nearly fights Grandpa Joe after the latter complains about the lifetime supply of sweets being "one measly Gobstopper".
    Mr. Wonka: Measly?! How dare you?! HOW DARE YOU INSULT MY WORK?!?!
  • Big Entrance: Double subverted in an Internal Homage to the 1971 film. The stage-spanning factory gates slowly open as the crowd sings his name, but the little door beyond opens to reveal an anxious man dressed in a black overcoat pleading in a quavering voice for someone to help him walk down a flight of steps. Then he changes his mind and declares he'll do it himself, almost topples over with that first step — then strikes a pose that causes the coat to vanish, revealing his wildly colorful suit...and true personality. Cue the Showstopper.
  • Blessed with Suck: "Simply Second Nature" suggests that he sometimes views his brilliant imagination as the former (downsides: Hearing Voices, having to live in thrall to his creative urges, etc.) but usually views it as the latter at worst, having moved into the Sweet and Sour Grapes state of the downside not mattering much when he can make the world a more colorful, exciting place than it otherwise would be. In fact, the last lines of the song are:
    It's no blessing, it's a curse!
    Wait, no, strike that and reverse
    I wouldn't have it any other way.
  • Cartoon Conductor: His "conducting" of the Act Two entr'acte, especially once he starts shouting at the orchestra to play faster after he checks his pocketwatch.
  • Catchphrase: The 1971 Wonka twice mixed up his words and corrected himself with "Strike that, reverse it", a phrase that became Ret-Canon in the novel's sequel. Here it's elevated into a full-on catchphrase. In the Act Two opening song "Strike That, Reverse It" it turns up five times, and two slight variants appear later at key emotional moments.
  • *Crack!* "Oh, My Back!": After "Vidiots", he needs one of the Oompa-Loompas to straighten out his back, commenting "Now I remember why I gave up raving..."
  • Dispense with the Pleasantries: "Strike That, Reverse It" has him focusing more on getting the adults to sign a confusing contract and getting the tour underway than getting to know the members of the group.
  • Doing It for the Art: In-universe. For starters, with the exception of the chocolate-mixing waterfall, the entire Chocolate Room is simply an artistic creation of his.
  • Double Meaning: Mr. Wonka has a gift for this trope, the better to speak in riddles.
    • "If you can see with more than eyes" can refer to both the imagination and the ability not to pass judgments based on appearances.
    • "And me, I take sweet honey/And make a tasteful rose" is a Pun referring to his talents as both candymaker and artist.
    • And of course, the all-important "Making something out of nothing"...
  • Eye Motifs: His songs and dialogue are rife with references to sight and eyes, tying into his gifts for imagining amazing things and finding ways to make them exist (one might say he's a visionary). This motif is, naturally, most prominent in "It Must Be Believed to Be Seen".
  • For Happiness: He regards his powerful imagination and unstoppable drive to realize his visions — and thus make the world a happier place — as blessings. Alas, because his artistic medium is candy, his creations tend to be mindlessly consumed rather than truly appreciated. (And imagine how he must have felt when rivals started stealing his work solely to make money...) He is not immune to the dark side of this trope, mind — non-ethical hedonists (aka the four bratty kids) quickly find that his world has a way of dealing with those who pursue selfish desires above all, a sort of small-scale Utopia Justifies the Means.
  • Fourth-Wall Observer: He's the only character clearly aware of the audience and the theatre itself, Breaking the Fourth Wall on more than one occasion. The Golden Ticket tour group does make their entrance at the top of Act Two by charging through the aisles when he calls for them, but they don't acknowledge the audience — they're likely just following his lead, not realizing their surroundings.
  • Gem-Encrusted: His cane has tiny gems set into it, reflecting his grandeur and elegance. But it also bends like the bamboo cane that was an Iconic Item of Charlie Chaplin's famous Little Tramp character, reflecting his playfulness.
  • Hearing Voices: He admits to having a problem with this in "Simply Second Nature"; it would seem to be a side effect of being a powerful Mr. Imagination.
  • "I Am Great!" Song: "It Must Be Believed to Be Seen", which also has much stylistic overlap with a Villain Song (brassy, catchy, cheekily sinister, glitteringly-staged).
    • "The Candy Man" also serves this purpose in the Broadway production, although he's going King Incognito at the time and thus singing about himself in the third person.
  • "I Am" Song: Different ones, depending on the staging:
    • In London, "Simply Second Nature" is his way of explaining himself to the confused adults in the tour group.
    • In New York, two songs from the 1971 version, "The Candy Man" and (loosely) "Pure Imagination", sum his philosophy up.
  • Instant Costume Change: During his Big Entrance his black coat vanishes so quickly it's almost as if he bursts out of it.
  • Mad Artist: In addition to a Mad Scientist. He is a relatively benign example.
  • Medium Awareness: He "conducts" the Act Two entr'acte, and that's just the beginning.
  • Motor Mouth: The reason that "Strike That, Reverse It" is the title and recurring phrase in the Patter Song that opens Act Two — he can be too fast a talker/singer even for himself. (Downplayed when he was played by Alex Jennings; the song's tempo was slowed down for him save for the contract summary stretch.)
  • Mr. Imagination: He credits being this as the key to his success in "It Must Be Believed to Be Seen". Given all these surrounding tropes, his intelligence and imagination are definitely forces to be reckoned with.
    No magic spells or potions
    Forswear legerdemain
    My kingdom's created from notions
    All swirling inside of my brain
  • Narrator: For the first year of the show's West End run, he was the (prerecorded) narrator of the "Creation Overture" animated prologue, though the audience wouldn't realize it was him until the end of Act One. The prologue was dropped with the 2014 cast turnover.
  • Not His Sled: At the end, he makes Charlie a Grade-School C.E.O. immediately and disappears to continue his creative work incognito in the audience's world.
  • Obfuscating Disability: Part of his Big Entrance (see above).
  • Orange/Blue Contrast: His purple tail coat has teal lapels and cuffs which contrast with his orange waistcoat. His tie is predominantly blue as well.
  • Pep-Talk Song: "A Little Me" is his way of encouraging Charlie to embrace his fate as a Grade-School C.E.O..
  • Pet the Dog: He wants his guests to truly appreciate and enjoy the Chocolate Room, his heretofore-private work of art, to the point that the only thing he declares off-limits from eating is the waterfall. Also, during "Simply Second Nature"'s second verse he presents the rose made of honey (see Double Meaning above) to Veruca and takes a moment to admire a butterfly that alights upon his cane before tenderly taking it in hand and releasing it into the air. Right after this song, though, Augustus disobeys his warning about the waterfall and Mr. Wonka's darker side fully emerges and dominates until the show's climax and denouement.
  • The Proud Elite: Sure, the world regards him as a brilliant businessman and chocolatier, and he is fiercely proud of his achievements, but he wishes he were appreciated as an artist — he sees his creativity as what makes him truly elite.
  • Reconstruction: While this Wonka is an Ambiguously Evil Anti-Hero who may actually be mentally ill, this adaptation explores why he's devoted his life to making absurd, whimsical sweets and turning a factory into The Wonderland, and the reasons given turn out to be rather beautiful. As well, while the novel and other versions have him seeking a good, obedient child who won't change the way his factory is run, this version has him seeking a child who knows better than to fool with what they shouldn't, yes, but also has their own creative ideas and determination to share them even if it means breaking a silly rule or two, who can carry on Mr. Wonka's work in their own unique way.
  • Self-Made Man: The bridge of "It Must Be Believed to Be Seen" suggests that he was a child living an ordinary life until he put his mind to imagining greater, more beautiful things.
  • Smart People Build Robots: The Everlasting Gobstopper and Great Gum Machines (or as he calls them, Barrel and Bertha) are noisy Tin Can Robots.
  • Sugar-and-Ice Personality: Most of the time he's frosty towards the tour group, all business and punctuality with no sympathy for those who end up destroying themselves through their vices and despite his warnings. But he is a sensitive, perceptive artist capable of great warmth and kindness...provided one can understand his quirky way of looking at the world and appreciate the things he creates.
  • Tall, Dark, and Snarky: He's the most elegant and authoritative Wonka to date, and if Grandma Georgina's comments in "The Amazing Fantastical History of Mr. Willy Wonka" are anything to go by, he even had female admirers in his pre-recluse days. (As a bonus Alex Jennings, the second WestEnd!Wonka, is so tall that he had to remove his top hat for the Imagining Room / Great Glass Elevator sequence to stand up straight in the elevator.)
  • Villain Song: Subverted. While not a traditional example, "It Must Be Seen to Be Believed" would not be out of place as one.
  • Weekend Inventor: The Great Glass Elevator? In this version, Mr. Wonka invented it and put it together the morning of the tour. ("Let's hope that it works" indeed!)

In the 2017 Broadway Retool:

The Broadway production substantially expanded Mr. Wonka's role in the story, via a plot device similar to that of The Golden Ticket — in Act One, he masquerades as the owner of a candy shop in Charlie's hometown and interacts with the boy. The following additional tropes are thus invoked.

  • Adaptation Personality Change: His sensitive Mad Artist nature and For Happiness motivations — the "sugar" side of his Sugar-and-Ice Personality — are downplayed, thanks to such things as "Simply Second Nature" being cut (the conversation about the purpose of the Chocolate Room is left intact, however). This ties into his...
  • Adaptational Villainy: He taunts Charlie in his King Incognito persona with false promises of free candy and having him watch the TV coverage of the Golden Ticket finders, and leads his guests through an invisible maze in which most of them end up injured.
  • Big Entrance: Following in the footsteps of the London production, also in an homage to the 1971 film. The crowd sings his name, but the door opens to reveal an old man dressed in a black overcoat pleading in a quavering voice for someone to help him walk. Then he changes his mind and declares he'll do it himself and falls making that first step. The press members try to help him out — suddenly Mr. Wonka pops out from the crowd, revealing his colorful outfit and true personality.
  • Cynicism Catalyst: The impact of spies stealing Wonka's work is played up compared to other adaptations. He even threatens death upon anyone who dares to spill his secrets or view them, making the "Imagining Room" scene more dramatic.
    Willy Wonka: My creations are for your eyes only. Remember: you talk, you die!
  • Composite Character: With the shop owner who sells Charlie the Wonka Bar with the Golden Ticket in it, that being his King Incognito persona.
  • Imagination-Based Superpower: Mr. Wonka magically makes a candy store appear out of thin air, with the tap of his cane. He also uses this to transform his factory into the various different rooms the tour group visits.
  • King Incognito: As in the 2005 musical Roald Dahl's Willy Wonka and The Golden Ticket, he interacts with the public as a candy shop owner and not-quite-befriends Charlie over the course of Act One. This isn't a spoiler because the very first scene shows Mr. Wonka revealing this to the audience. (In London, he also did this, but that he and the Tramp were one and the same was not revealed until the very end.)
  • Parental Substitute: Becomes this to Charlie at the end, as Mr. Bucket suffered Death by Adaptation before the action begins.
  • Yank the Dog's Chain: As the candy shop owner, he constantly promises Charlie a free Wonka Bar, but always fails to follow through.

     Charlie Bucket 

Played by:
Peter Ostrum (1971 film)
Freddie Highmore (2005 film)
Benjamin P. Wenzelburg (2010 opera's 2012 recording)
Jack Costello (2013 musical's Original London Cast Recording)
Ryan Foust, Jake Ryan Flynn, and Ryan Sell (2017 Broadway Retool of the musical)
Lincoln Melcher (Tom and Jerry: Willy Wonka and the Chocolate Factory)

A boy who lives with his poor but loving family in a shack on the edge of the town that Mr. Wonka's factory is located in. He craves chocolate more than anything else in the world but their straits are so dire that it's only a once-a-year birthday treat for him. Despite his lot in life, he is a good, self-sacrificing soul, and perhaps that's how the Million-to-One Chance of his finding the last of the Golden Tickets comes about...

In the novels and across adaptations:

  • Adorably Precocious Child: Shades into this in the film adaptations; he does what he can to support the family in both versions, and is a near-Purity Sue with his manners and generosity in '05.
  • Advertised Extra: In the novel, once Charlie arrives at the factory, he does nothing and, therefore, wins the factory. Granted, he spends the first third of the book starving to death while being a really good kid. By the time he gets to the factory, he's got nothing to prove to the readers. But with this trope in mind, adaptations usually tweak the story to give him more to do: He succumbs to a temptation and must make up for it in the 1971 film, reconciles Mr. Wonka with his father in the 2005 film, and is a budding inventor in the 2013 version.
  • Audience Surrogate: The events are presented primarily through his eyes, though it is written in the third person. This also applies to most of the sequel, aside from the scenes with a different set of characters in the White House, though at one point the narration lets the reader in on Mr. Wonka's thoughts.
  • Friendless Background: It's easy to miss in the novel or most adaptations, but Charlie has no friends to speak of...just his family. He goes to school with other kids — is he shunned because he's poor? Is he too busy trying to help his family out (as in the 1971, 2005, and 2013 versions) to spend time making them? Averted in the Alton Towers theme park ride adaptation, in which riders assume the role of Charlie's friends whom he has invited along on the tour of the factory.
  • Grade-School C.E.O.: In the 2005 stage musical Roald Dahl's Willy Wonka, the 2010 opera, and the 2013 musical, Charlie immediately becomes the new owner of the Wonka Factory once he passes the Secret Test, whereas in the novel and other versions he will not assume that role until he comes of age.
  • Hair of Gold, Heart of Gold: In the 1971 film and Quentin Blake's illustrations, Charlie is blonde.
  • Hakuna Matata: In the 2005 stage musical Roald Dahl's Willy Wonka, Leslie Bricusse (who co-wrote the songs for the 1971 film) gives Charlie "Think Positive", which he sings to cheer up his just-laid-off father. He later has a brief reprise as he prepares to open what turns out to be the Wonka Bar that has the last Golden Ticket.
  • Incorruptible Pure Pureness: In the novel, 2005 film, and 2010 opera, he is distinguished from the four brats by his ability to resist temptation. Other versions present him as fundamentally good, but not to the extent of this trope.
  • Kid Hero: Albeit one who doesn't affect the plot much; his defining trait is his virtuousness, which allows him to avoid temptation in the novel. As noted above, adaptations tend to make him a little more proactive.
  • Kid Sidekick: In the sequel, he becomes this to Willy Wonka.
  • Lead You Can Relate To: He reflects the novel's preteen target audience, and serves as a window through which Mr. Willy Wonka (who is at least middle-aged) can be observed.
  • Nice Guy: All versions, but the 1971 film and 2013 musical incarnations deserve special mention in part because he is not a case of Incorruptible Pure Pureness in either.
    • In the 1971 film, he's certainly not as cruel as some of the other children, and actually tries to help Augustus when he falls into the river. But he actively desires more out of life, and is not above temptation, hence the Fizzy Lifting Drinks misadventure. Proving he's a good kid by not giving Slugworth the gobstopper is what earns him the factory.
    • In the 2013 musical, he's as puzzled by Willy Wonka as the rest of the tour group is, but unlike the brats (who see Mr. Wonka as a means to an end, nothing more) and even some of the adults is unfailingly polite and respectful towards him anyway, because that's just the kind of kid he is.
  • Pinball Protagonist: He's largely just along for the ride after the opening stretch.
  • Rags to Riches: Starts out as poor but inherits the chocolate factory and Charlie's business on top.
  • Seven Deadly Sins: Subverted with Wrath- Charlie passes Wonka's moral test in adaptations.
  • Sweet Tooth: Not that he gets many opportunities to indulge it (see Trademark Favorite Food below).
  • Token Good Teammate: Of the five kids. He is the only kid who isn't spoiled, mean, greedy, stupid, or otherwise unworthy of Willy Wonka's favor, apart from succumbing to temptation once in the 1971 film, and he acknowledges that what he did was wrong and apologizes for it.
  • Trademark Favorite Food: Chocolate. Alas, it is a Mundane Luxury to him (he only gets one bar a year, on his birthday), which makes it painful for him to live so close to Mr. Wonka's mysterious factory.
  • Underdogs Never Lose: In the 2005 film and 2013 musical, it is known to everyone that there is a secret super-prize for one of the Golden Ticket finders to win on the tour. In the former, Violet is determined to win this and calls poor Charlie as a loser to his face, and not long after Augustus taunted him at that. In the latter, Charlie is regarded as The Runt at the End by the press compared to the other winners, and even Mr. Wonka treats him this way...
  • The Watson: In the sequel, he's this and a Kid Sidekick / Tagalong Kid rather than a Pinball Protagonist; Mr. Wonka himself becomes the protagonist.

In the 1971 film:
  • Earn Your Happy Ending: The (literally) poor kid is faced both with the temptation to try the Fizzy Lifting Drinks, which he succumbs to with nearly-fatal results, and the greater temptation to give Mr. Slugworth the Everlasting Gobstopper, which would net him even greater prizes than the lifetime supply of chocolate. And when he gives in to the former, he learns that the original prize is forfeited! But he still can't bring himself to betray Mr. Wonka, and in the process wins the greatest prize of all.
  • Heroic B.S.O.D.: Three times: First, he seems to be silently having one as (having become frustrated with his inability to find a ticket) he blankly roams around town during the "Cheer Up, Charlie" number, the second time occurs when he cries in bed after the fifth (actually a fake) Golden Ticket is claimed to have been found, and the third case comes when Mr. Wonka tells him he won't get the lifetime supply of chocolate. The latter doesn't last long, thankfully.
  • Heroic Bystander: He tries to be one by holding out a giant lollipop for the drowning Augustus to grab on to, but the latter is sucked into the pipes before he can do so.
  • Karma Houdini: While they are almost killed in the Fizzy Lifting Drink misadventure, he and Grandpa Joe initially seem to get away with drinking it in the first place, without any lasting consequences. But it's subverted: Mr. Wonka knew about it the whole time and is not happy. This is enough for Charlie to realize that he did something wrong and lost just as much as the other kids. Giving the Everlasting Gobstopper back to Mr. Wonka is his way of acknowledging his mistake and apologizing for it.
  • Mr. Vice Guy: Because he wants a lot more than what life has thrown at him, Charlie is prey to temptation, and along with Grandpa Joe samples the Fizzy Lifting Drinks.
  • Seven Deadly Sins: Envy, and with valid reason.
  • One-Book Author: Peter Ostrum never acted again afterward — he's now a veterinarian.

In the 2005 film:
"I wouldn't trade my family for anything, not for all the chocolate in the world."
  • Broken Pedestal: This Charlie admires Mr. Wonka as much as any other incarnation, even building a scale replica of his factory out of the defective toothpaste caps his father brings home from work! (As the movie begins he just needs a head for the Wonka figure itself to complete it.) But unlike other versions, this admiration is broken by the time the tour ends. It's not just that this Wonka's socially awkward and an Insufferable Genius; that the boy can live with. As the climax approaches though, he completely loses Charlie's respect over his demand that he abandon his family.
  • Secondary Character Title: Ironically, this adaptation keeps the book's original title but changes the focus so that Wonka now is the main character.
  • Supporting Protagonist: He has no real Character Development over the course of the film; even his Broken Pedestal moment is something he largely takes in stride. Once the Flashbacks to Mr. Wonka's childhood begin, it slowly becomes clear that this adaptation is really about him coming to terms with his past in order to achieve his goals and have a happy future. In the end, Charlie is merely a catalyst for this.
  • Thicker Than Water: He loves and cares about his family above all else, even chocolate. He actually considers selling the Golden Ticket to lift them out of poverty and Grandpa George has to talk him out of it. And in the final stretch, he turns his back on becoming Mr. Wonka's heir because he can't give up his family.

In the 2010 opera:

  • Born Unlucky: He seems to believe himself to be this owing to his dire straits; early on, he asks "Grandpa Joe, were you ever lucky?" suggesting he wants to know that that's like. Nothing suggests this is actually true, though.
  • Constantly Curious: In the opening scene, Mr. Know winds up having to ask "Charlie, why do you ask so many questions?"
  • Grass Is Greener: Charlie is at least resigned to his circumstances in the novel and most adaptations and even finds happiness in his existence, thanks primarily to his loving family. But here, even more than in the 1971 film, he's really unhappy and openly wants more out of life. In the "Dreams and Ambitions" sequence, which is effectively his "I Want" Song, he sings about how much he wants to "escape, far away,/into dreams?/And to roam strange fantastical worlds far from home". Luckily, when he gets his chance it works out well for him.
  • Parental Abandonment: Owing to his parents being Adapted Out; no explanation is given for what happened to them, so it's easy to assume they died. Also counts as:

In the 2013 musical:

  • Ascended Fanboy: He wants to find a Golden Ticket not just because (like everyone else) he loves Mr. Wonka's sweets and wants to see just how they're made, but because he's absolutely in awe of the man's amazing accomplishments to the point that he's inspired to brainstorm ideas for sweet inventions of his own, as detailed in his "I Want" Song.
  • Catch-Phrase: "How d'ja do?" in Act One: It's part of the "Almost Nearly Perfect" refrain, turns up again in "A Letter from Charlie Bucket" and "Don'cha Pinch Me Charlie", and is the first thing he can think of to say on the red carpet. Downplayed in the Broadway staging, where "Almost Nearly Perfect" and "Don'cha Pinch Me Charlie" are cut.
  • Cheerful Child: His Mr. Imagination tendencies help him make the most of his meager lot in life, though he does fall into a blue funk as his hopes of finding a Golden Ticket fade. He's not a case of Incorruptible Pure Pureness — he's sweet and kind, but he isn't above the occasional fib if it lets him hear a favorite story, he's prone to daydreaming, and while he tries to be selfless and obedient, he can't resist spending a bit of dropped money on a bar of chocolate or looking at the idea notebook. So he's not perfect, but to nick the title of his "I Am" Song (which refers to the discarded-but-still-useable things he finds at the dump), he's "Almost Nearly Perfect", and that's good enough for Mr. Wonka, who 1) encourages him, while in disguise, to buy the fateful bar, and 2) wants him to look at the notebook as a Secret Test not of morals but of creativity.
  • Collector of the Strange: He regularly picks up the Wonka Bar wrappers that the patrons of Mrs. Pratchett's sweet stall leave behind. When another character calls this out as unusual, he explains that he collects them. (Whipple-Scrumptious Fudgemallow Delight wrappers are his favorites!) It's a way he can vicariously enjoy the candy his family is too poor to afford on a regular basis, and they don't see this as odd at all.
  • Despair Speech: During his Heroic B.S.O.D., all he can say when his dad tries to cheer him up by encouraging him to look through the hole in the roof for a shooting star is "Don't waste a wish on me." Short, but it says so much about his lost hopes.
  • Heroic B.S.O.D.: He goes into a funk when it looks like he won't find a Golden Ticket. Right after his annual birthday Wonka Bar proves not to have one, he and his family learn the third ticket has been found and the news genuinely upsets him. The others (save for Grandpa George) try to keep his spirits up...and then the news of the fourth ticket being found — by Mike, the worst of the brats in this version to boot — breaks. For the next week, the poor boy is glum and quiet, not even asking to hear one of Grandpa Joe's stories.
  • Heroic Bystander: When Grandpa Joe accidentally presses Mr. Wonka's Berserk Button over the lifetime supply of sweets turning out to be the Everlasting Gobstopper, Charlie prevents them from physically fighting by Standing Between the Enemies and declaring that the Gobstopper's "an amazing present" and that he doesn't want anything else.
  • "I Am" Song: "Almost Nearly Perfect" has him explaining how he makes the most of his meager world. Averted in the Broadway production.
  • I Can Explain: He uses these exact words when Mr. Wonka catches him adding to the idea book. (Not that he has to...).
  • "I Want" Song: "A Letter from Charlie Bucket". Most of it details things he'd like Mr. Wonka to invent — in order to brighten up the lives of his parents and grandparents. He realizes at the end that there are two things he wants for himself: "Please drop them off yourself/So we can ask ya 'How d'ja do?'/And well, I'd like one Wonka Bar/That I would share with you." (Interestingly, by this point he's unknowingly managed the first part.)
  • Mr. Imagination: He's more grounded than most examples of this trope, using his imagination to brighten up his life. This gives him something in common with Mr. Wonka: Charlie's shy, poor, humble, and warm and Mr. Wonka is a Large Ham, fabulously wealthy, boastful, and frosty, but both have vibrant imaginations and enormous senses of wonder; at heart, both want to create things to make other people happy.
  • One Man's Trash Is Another's Treasure: U.K. version only: Both Charlie and his dad keep an eye out for discarded items that they can find use for, be it a notebook that still has blank pages or a broken umbrella that can be fixed up. Charlie even sings in "Almost Nearly Perfect" that "Their ["your" on the cast album] trash is my treasure/Their 'Goodbye' is my 'How d'ja do.'"
  • The Pollyanna: Downplayed. In the early going, he's of the mind that even if times are tough for him and his family now, things will eventually get better (in "Almost Nearly Perfect" there are the lyrics "But someday/When I have my say"...note the when), and he isn't fazed by the odds against his finding a Golden Ticket even though he'll only get one shot at it. But when that chance fails he reaches his breaking point, angrily declaring that the factory would just be a lot of machines anyway in a desperate attempt to hide his disappointment. Learning that the fourth ticket has been found triggers his Heroic B.S.O.D., as he loses all hope that his dreams will ever be fulfilled. Luckily his fortunes finally take a turn for the better, and that blue funk doesn't keep him from being a good, Cheerful Child.
  • The Runt at the End: After the other four Golden Ticket finders make flashy entrances on the red carpet come tour day, the poor boy — the last to find a ticket to begin with — cuts a shy, small figure by comparison and reporters Jerry and Cherry clearly see him as this while the other kids clearly have shots at the glorious secret super-prize. He and Grandpa Joe are always bringing up the rear; Mr. Wonka asks (during the introductions in "Strike That, Reverse It") "Is least the last to join our cast?" and when they dawdle in the Nut Room after Veruca's demise, they wind up having to ride in an actual bucket being towed by the Cool Boat to get to the Department of the Future, with Mr. Wonka noting that the boy has a bad habit of daydreaming.
  • Warts and All: Charlie quickly realizes that his hero is a decidedly quirky, icy fellow in "Strike That, Reverse It" — and Mr. Wonka notices his puzzlement and asks him about it. Charlie explains "[Y]ou're not what I expected." Mr. Wonka admits "That's a coincidence...because I'm not what I expected either." As the tour progresses it becomes clear Mr. Wonka can get very dark and he keeps treating Charlie as The Runt at the End, but he also has sensitive Hidden Depths. Charlie sees those depths, never loses sight of what a remarkable person Mr. Wonka is, and always treats him with kindness and respect. And as it turns out, Mr. Wonka cares much more about Charlie than he's letting on.

In the 2017 Broadway Retool:

  • Limited Wardrobe: Wears only one winter-friendly outfit (scarf and all) for the entire show, unlike in London, where he had a different, nicer outfit for the factory tour.
  • Mr. Exposition: During "Willy Wonka! Willy Wonka!," Charlie tells the Backstory of Willy Wonka to the candy shop owner — not realizing his listener is Mr. Wonka himself.
  • Parental Abandonment: Mr. Bucket is dead in this version.

The Four Bratty Kids

     General Tropes 

  • Adaptational Jerkass: With the exception of Veruca (who is less whiny and more passive aggressive), all of them become more antagonistic and unpleasant in the 2005 film: Augustus and Violet are openly mean to Charlie while Mike is very rude, skeptical, and arrogant to Willy Wonka.
  • Anti-Role Model: All four are brats who let their flaws get the better of them long ago, and it shows in how they treat others.
  • Arson, Murder, and Jaywalking: The kids' major character flaws: being greedy, being spoiled, being obsessed with TV and... chewing gum? What? Violet is also bad mannered, and in the 2005 film and 2013 musical hyper-competitive, but the book really focuses on the gum chewing as her main flaw. It's Values Dissonance: When the book was written, society was a lot stricter about a lot of things, chewing gum included (chewing gum is noisy and can be disruptive to other people, but it's usually classrooms that ban it, rather than factories); as the Oompa-Loompa song in the 1971 version puts it, "Given good manners, you will go far".
  • Be Careful What You Wish For: Finding the Golden Ticket. Seemingly everybody in the world wants to find one. Veruca and, in the 2005 film and 2013 musical, Mike even get theirs using underhanded methods (using laborers in her father's factory and "hacking" the ticket distribution to find the bar with it or just the ticket outright, respectively), and all five finders are considered "lucky winners". But four of them are subjected to horrible Ironic Hell punishments, which may or may not be Mr. Wonka's plan all along.
  • Blessed with Suck: Winning the Golden Ticket. You get to be one of only five families that get: 1) to see and explore Mr. Wonka's chocolate factory, 2) a huge supply of chocolate and 3) a shot at a mysterious super-prize, but one small misstep and you are in for a very unpleasant experience, possibly with lasting damage.
  • The Bully: Both Augustus and Violet have shades of this towards Charlie in the 2005 film.
  • Creative Sterility: In The Golden Ticket and the 2013 stage musical, it's suggested that all four brats have this problem — they're too preoccupied with consuming/getting things or just becoming famous to actually create things, or even (in the former) to truly dream.
  • Devil in Plain Sight: All four, but especially Veruca. The Bucket family, especially the grandparents, is dismayed to learn that each of them is obnoxious in their own way, yet they are all indulged by their parents and acclaimed and celebrated for their luck, which isn't even really luck in Veruca's case, by the rest of the world. The four kids get a very rude awakening to their own faults once they're in the factory, because — while he may not show it at first — Willy Wonka, to say nothing of his Oompa-Loompas, does recognize them for who they are and has No Sympathy for what happens to them when they give in to their vices and meet dreadful fates.
  • Dwindling Party: In the book, the 2005 film, and the opera, the kids all survive, but are eliminated from the tour/secret competition one by one. At the end of the book it is revealed that the "winner" is defined as the child whom Mr. Wonka likes best and Charlie, the only one who doesn't have a flaw that results in elimination, is that kid. In the 1971 film and 2013 musical, their fates are ambiguous — in the latter, three kids and one adult might suffer Death by Adaptation (and thus play this trope straight!). In the Broadway retool of the musical, Veruca is torn apart, not-quite-killing her off (She calls for her dad afterwards, despite being just a head).
  • Famed In-Story: In the 2013 musical, Violet is this for sure, even having her own TV show. Augustus Gloop is also an eating contest champion in this version, and Veruca is the daughter of a billionaire.
  • Fearless Fool: All of them! Augustus drinks from the chocolate river despite warnings and the fact that he can't even swim, Violet chews experimental gum despite warnings that it wasn't "quite right yet", Veruca tries to steal a trained, dangerous squirrel, and Mike sends himself through a clearly unsafe teleporter.
  • Felony Misdemeanor: All the bratty kids (yes, even Veruca) but especially Violet whose "crime" in the book consists solely of chewing gum. In the book this is lampshaded when Veruca's father comments that yes, his daughter is bratty, but this doesn't justify her burning.
  • Foil: Each kid to Charlie, in different ways.
    • Augustus enjoys all the food he wants. Charlie isn't even getting what he needs.
    • Veruca demands her parents give her any valuable object she wants and gets it immediately. Charlie only wants mundane luxuries like chocolate and only gets them once per year.
    • Violet is proud and rude. Charlie is humble and well-mannered.
    • Mike doesn't appreciate the wonders of the factory — they go to the Television Chocolate room because he misses TV while on the tour. Charlie is absolutely fascinated with the place.
  • Genre Blindness: All the kids, but especially Mike and Violet, who really should know better.
  • Heel–Face Turn: In certain adaptations.
    • In the 2005 stage musical Roald Dahl's Willy Wonka, they emerge for the finale restored to their original states and Charlie claims "They learned their lesson." They then sing an additional verse of the 1971 film's Oompa-Loompa song confirming this.
    • Much the same happens at the end of The Golden Ticket, but they're not restored to normal. They are transformed as in the novel's denouement, which they admit is "our just reward/For being greedy, spoiled and bored."
  • Humiliation Conga: All four kids go through this, particularly in the 2005 film and 2013 musical, in which all of the kids except Veruca have their personal songs sung in front of them (though they mostly don't seem to be paying attention). One by one: Augustus falls into a chocolate river in front of everyone, gets sucked up a glass tube and sticks, goes through who-knows-what in the Fudge Room, then exits the factory thin as a straw and/or covered in chocolate. Violet swells up and is rolled around, and ends up permanently blue. Veruca gets covered in trash. Mike is shrunk, then stretched to ridiculous proportions. All of them exit, in some demeaning fashion, filmed and being watched by presumably the whole world.
    • The 1971 adaptation doesn't even show the children getting out at all, though Mr. Wonka does assure Charlie they'll be fine. In the 2013 stage musical, Mr. Wonka may actually have a Dwindling Party situation on his hands, and he doesn't care!
  • Iron Butt Monkey: All four of them risk being seriously injured or killed due to their misbehavior, and three wind up permanently transformed by their experiences (squeezed skinny, blue-skinned, turned into a giant), but they're all otherwise safe and sound upon emerging from the factory. Veruca and her parents don't even get hurt in their fall down the garbage chute, only getting Covered in Gunge for their trouble. According to Mr. Wonka, it's justified in Mike Teavee's case; stretching him back to his original size is easy and presumably painless because boys his age "stretch like mad"! This is averted in the 2013 musical, owing to the Uncertain Doom most of them face; in the 2017 Broadway Retool, Veruca is definitively killed off.
  • Ironic Hell: The bratty kids' punishments.
  • Kids Are Cruel: In the book, the bad kids aren't really mean at all, but adaptations use this to varying extents:
    • In the 1971 film, Veruca seems to hate Violet, shoving her around for no real reason. (According to the DVD commentary, Julie and Denise fought regularly for the attention of Peter, who they both had a crush on. Each would sneak jabs at each other while the camera was rolling as a result of the tension, which was kept in.) Also, it's implied that at least Veruca and Mike have taken Mr. Slugworth up on his offer of further riches if they'll get him an Everlasting Gobstopper.
    • There's a clearer mutual dislike between the girls in the 2005 film, culminating in Veruca's schadenfreude at Violet turning into a blueberry. This is likely because both girls (Veruca due to being spoiled and Violet due to being a competitive perfectionist) feel a need to be the center of attention, and don't like sharing the limelight with one another. Also, Violet occasionally picks on Charlie. Again, this is probably due to Violet's competitiveness, but Augustus just randomly mocks him. He said nothing to him in the book.
    • In The Golden Ticket, Veruca is subjected to Adaptational Villainy; she agrees to be a spy and videotape the tour after she gets her ticket. She also says "Let's face it, who's going to miss Mikey Teavee?" after he's front of his terrified mother. Violet picks on Augustus with regards to his weight when they're both interviewed, and thinks he deserves his karmic fate in the pipes. And both Mike and Veruca look down on Charlie.
    • Mike is an Enfant Terrible in the 2013 stage musical, and Veruca's bossier than ever (if not as malicious as her Golden Ticket counterpart). And while the brats don't pick on Charlie, they occasionally snipe at each other (Violet even uses two lines of her Boastful Rap / "I Am" Song to put down Veruca before they've met!) — and certainly don't hesitate to put down/snap at that crazy old guy who will serve as their tour guide...
  • Laser-Guided Karma: Happens to all the children, whose misfortunes — or, in Charlie's case, good fortune — are a direct result of their personality and actions.
  • Lost in Imitation: The four kids' home countries aren't specified in the novel. The 1971 film was the first to make them a Multinational Team (see below), and other versions follow its lead, down to the countries involved.
  • Menace Decay: These kids don't seem so awful in the book and 1971 film to modern viewers, which makes their fates seem wildly out of proportion to their sins (though they are all cause-and-effect situations — equivalent to a person walking into a lion's cage and getting mauled). From the 2005 film onward, they are portrayed as more obnoxious to counteract this trope. But depending on the adaptation, their punishments might be more extreme as well...
  • Multinational Team: Starting with the 1971 film, it is traditional to depict the brats as German (Augustus), British (Veruca), and American (Violet and Mike), with Charlie's nationality usually left ambiguous — he's either British or American. Two audiobook narrators broke with tradition for one character apiece — Eric Idle's Veruca Salt is American, and Douglas Hodge's Mike is British. In the Retooled Broadway production of the musical, Veruca is Russian.
  • Spoiled Brat: All four. Augustus' parents feed him pounds of chocolate, Violet's parents indulge all her obnoxious habits, Veruca's parents get her anything she wants, and Mike Teevee's parents actually encourage his television watching because it means they won't have to babysit him.
  • Too Dumb to Live: Kind of in the 1971 film.
  • Victimized Bystander: The naughty children who fall victim to events in the factory survive in most versions, but with "reminders" of their misbehavior. Augustus is thin as a rail from being squeezed through the pipes, Violet is purple, Veruca is covered in garbage, and Mike is a 10-foot giant (the end result of being put through a taffy puller to de-shrink him).
  • "The Villain Sucks" Song: Although they don't really qualify as villains, each of them gets one of these from the Oompa-Loompas after they get their Laser-Guided Karma.

     Augustus Gloop 

Played by:
Michael Bollner (1971 film)
Philip Wiegratz (2005 film)
Andrew Drost (2010 opera's 2012 recording)
Jenson Steele (2013 musical's Original London Cast Recording)
F. Michael Haynie (2017 Broadway Retool of the musical)
Rachel Butera (Tom and Jerry: Willy Wonka and the Chocolate Factory)

This obese nine-year-old boy, whose "hobby" is eating, is the first Golden Ticket finder, and the first to fall prey to the factory's perils when he decides to drink directly from the Chocolate Room's river and winds up falling into it. Drowning turns out to be the least of his worries. Traditionally played as German in adaptations.

In the novel and/or multiple adaptations:

  • All Take and No Give: The Oompa-Loompas' justification for disposing of him in the novel and 2013 musical. To quote the former:
    However long this pig might live
    We're positive he'd never give
    Even the smallest bit of fun
    Or happiness to anyone.
  • Animal Motifs: Pigs — with the gluttonous and messy connotations invoked. His character description in the book is "a fat pig who would eat anything within reach or bite." Promotional material for the 2005 film showed pigs around him, as well. His family also runs a butchery in that film, driving the point home further with large sacks of meat hanging around him. The 2013 musical takes it even further — they raise pigs for their butchery in their backyard.
  • Big Eater: His defining character trait, and effectively the reason he's the first kid to find a ticket.
  • Fat and Proud: In the 2010 opera and the 2013 musical.
  • Fat Bastard: While it's pretty disgusting to put unwashed hands in chocolate meant for worldly consumption in any case — and especially when repeatedly told not to for precisely this reason — in the book Augustus is mentioned to have a nasty cold too, which is now being spread through everything. This is played up in the 2005 version. On the way to the first room, he offers his chocolate bar to Charlie and then yanks it away, saying, "You want some chocolate? Then you should have brought some," before giving the child-equivalent of an Evil Laugh. Presumably he knows that Charlie is starving. (By contrast, in the 1971 version it appears his only fault is his gluttony.)
  • Fat Comic Relief: He exists primarily to be this and A Weighty Aesop.
  • Fat Idiot: Augustus doesn't seem to have much personality to show, and it's implied his mother has babied him enough to make him completely "infantile." His only action is the supremely idiotic one of trying to drink from the river and falling in. Some adaptations give him moments of nastiness to go along with this.
  • Fat Slob: Usually, the key exception being the 1971 film's version, who has decent table manners. By the time he falls into the chocolate river in the novel, he's been "lapping up the chocolate like a dog" from it. The 2005 scene in the Chocolate Room is made genuinely unpleasant as Augustus stomps around eating everything, the area around his mouth becoming quite colorful in the process. The 2013 incarnation tends to introduce himself with a good belch, if he isn't too busy eating something or other.
  • "I Am" Song: Gets one in at least two different stage adaptations.
    • In 2005's Roald Dahl's Willy Wonka, it's "I Eat More".
    • In the 2013 musical, it's "More of Him to Love" (performed in tandem with his parents).
  • Momma's Boy: Very much so, especially in the 2013 musical.
  • Obsessed with Food: It's his hobby!
  • Oktoberfest: The 1971 film, 2005 film, 2005 musical, and 2013 musical all present him as German, and this trope always follows suit. In the 2005 film, he is from *ahem* Düsseldorf, which The Other Wiki calls the center of one of Europe's most populated metropolitan areas. The 2013 musical goes with Bavaria instead and also counts as Yodel Land.
  • Seven Deadly Sins: He represents Gluttony.
  • Sheltered Aristocrat: How rich his family is is debatable, but Augustus is so sheltered that he doesn't even know how to swim, and...
  • Super Drowning Skills: This bites him in the ass hard when he nearly drowns in the Chocolate River and certainly can't escape the pipe.
  • Sweet Tooth: While a Big Eater in general, it's his love of sweets in particular that leads him to discover the first Golden Ticket; according to his mother "He eats so many candy bars a day that it was almost impossible for him not to find one." Of course, his sweet tooth also factors into his undoing.
  • Translation Convention: In most adaptations the Gloops are presented as being fairly bad at English, with heavy accents and Germanic terms sprinkled in their conversation ("Guten tag Mr. Vonka!"). Yet they nevertheless always speak English to each other during the tour, as they do throughout the book. It's particularly odd during Augustus' troubles with the pipe — despite fearing for his life, he screams for his mother in English.
  • Too Dumb to Live: Especially in the 2005 film. Seriously, don't drink out of the chocolate river on a ledge!
  • Villainous Glutton: Though how villainous he is depends on the adaptation.
  • Waistcoat of Style: In Quentin Blake's illustrations he wears a pink-spotted one, stretched to bursting.
  • We Hardly Knew Ye: The first winner to "leave" the tour in all versions.

In the 1971 film:
"I feel sad for Wonka. It's going to cost him a fortune in fudge."
  • Adaptational Attractiveness: Augustus is disgustingly obese in the novel and other versions; here, he's not nearly that fat — even kind of cute — and has much better manners too.
  • Mr. Vice Guy: He's nice to the others and has good manners. He only gets in trouble because of his gluttony.
  • Out of Focus: He barely speaks here, mainly because the actor spoke little English. That said, the lack of dialogue is not a huge change from the novel, in which he only has a handful of lines.
  • Yodel Land: The town he comes from ("Dusselheim") is fictional, but the restaurant where he's interviewed has a very Bavarian look to it and he goes on the tour wearing lederhosen.

In the 2005 film:
"Don't you want to know our names?"
  • Adaptational Jerkass: Much more aggressive, particularly towards Charlie, than in other adaptations. He offers him a bite of his chocolate bar, then cruelly says "then you should have brought some!"
  • Covered in Gunge: His ultimate fate. Luckily he tastes delicious! And compared to what happens in the novel — he's squeezed skinny by the pipe — it's an improvement in any case.

In the 2013 musical:

  • Cheerful Child: A subversion. He's just as constantly happy and upbeat as Charlie, who is a straight example of this trope. But it isn't portrayed as positive because of his revolting habits and occasional rudeness (not to mention that, since all he does is eat, his happiness stems directly from his appetite being constantly whetted). His demise is presented as a grotesque mockery of Break the Cutie; he is thoroughly broken by his sojourn through the pipe, in tears by his exit to an Uncertain Doom.
  • Crazy Consumption: He's proud of being able to eat those aforementioned pigs "limb from limb" — with his father noting "We don't leave our dachshund all alone with him!"
  • Gasshole: Along with his tendency to introduce himself with a belch, he even releases some flatulence in the pipe, which propels him further toward his doom.

     Veruca Salt 

Played by:
Julie Dawn Cole (1971 film)
Julia Winter (2005 film)
Abigail Nims (2010 opera's 2012 recording)
Tia Noakes (2013 musical's Original London Cast Recording)
Emma Pfaeffle (2017 Broadway Retool of the musical)
Emily O'Brien (Tom and Jerry: Willy Wonka and the Chocolate Factory)

Ticket finder number two is a spoiled little rich girl who gets everything she wants. Notably, she didn't find the ticket on her own — rather, her father (who runs a peanut factory) had his employees "shell" thousands of Wonka Bars until one of them found a ticket. She is the third child to be eliminated from the tour when her attempt to steal a trained, nut-sorting squirrel from The Nut Room ends with her tossed down a rubbish chute that leads to an incinerator that may or may not be lit today. (Her parents go down it as well when they try to save her, making them the only parents to face a poetic comeuppance in the factory.) Traditionally portrayed as British in adaptations.

On a side note, the band Veruca Salt is named after her.

In the novel and/or multiple adaptations:

  • Adaptational Intelligence: In the novel, 2005 film and 2013 musical, she just throws tantrums if her parents don't bow to her demands right away and at least in the first two is implied to be literally empty headed, but in the 1971 film and 2010 opera she also emotionally manipulates her father, telling him what an awful person he is for not getting her what she wants. In the opera, she's also unusually savvy about business for a 10-year-old, both in telling her father to mortgage his factory when he tries to explain that the search for the Golden Ticket is bankrupting him and her agreeing to act as a spy during the tour.
  • All Take and No Give: In the 1971 film, 2010 opera, and 2013 musical, Veruca to her dad.
  • Bitch in Sheep's Clothing: She constantly tries to appear adorable, only to throw a tantrum once in a while.
  • Bratty Half-Pint: When she's mad.
  • Break the Haughty: In the novel, her comeuppance is the simplest (notably it's the only one that doesn't involve Applied Phlebotinum) and most humiliating, tying directly into her sense of entitlement.
  • Covered in Gunge: Garbage, to be exact, once she and her parents go down the Nut Room's chute.
  • Daddy's Girl: Mr. Salt is the primary pamperer between her two parents. How much she loves him back varies from version to version. Adaptations almost always render Mrs. Salt Demoted to Extra or Adapted Out (the key exception is Richard George's non-musical play) so this trope is played up further.
  • Deliberately Cute Child: In the 2005 film and 2013 musical, she attempts to be this for Mr. Wonka. He isn't fooled for a second.
  • Diseased Name: A verucca is a plantar wart. This trope is lampshaded in-story by Mr. Wonka; in the 2013 musical she points out "The wart has two Cs, I've got one." It doesn't work because he "misinterprets" this statement to mean she has one wart...
  • Hair Decorations: In Quentin Blake's illustrations and the 2013 musical; in the former she has a pink bow in her hair, and in the latter it's a pink headband.
  • Hollow Sounding Head: Unusually it is an actual plot point, rather than just a brief gag, in the novel and most adaptations.
  • Hollywood Dress Code: Veruca is specifically mentioned to have a mink coat in the book. This marked her as a Rich Bitch even before wearing fur was wrong.
  • It's All About Me: She's completely self-absorbed and makes those around her absolutely miserable when she doesn't get what she wants right away.
  • Meaningful Name: "Verruca" is the scientific latin name for warts. Lampshaded by Mr. Wonka.
  • Pink Means Feminine: In Quentin Blake's illustrations and the 2013 musical, the latter specifically referencing her love of ballet (her outfit comes complete with a tutu). She even arrives at the factory in a pink limo in that version. The color might have been chosen due to its connotation with princesses.
  • Pretty in Mink: Veruca has furs because she's spoiled in the book and most adaptations. Julie Dawn Cole actually wore a custom-made little mink coat made for the part for the 1971 movie. It's fake in the 2005 film, though the character could easily have a real one.
  • Regal Ringlets: Several illustrators give her these, as does the 2005 film.
  • Rich Bitch: Her family's wealth helped make her the Spoiled Brat she is today, and though a child she's as snobby, rude, well-dressed, and entitled as any adult example of this trope. This is played up in The Golden Ticket, in which she is played by an adult actress, but it's also apparent in the 1971 version, where despite having everything she wants she is willing to sell one of Mr. Wonka's recipes to Slugworth for even more money.
  • Seven Deadly Sins: She represents Greed with a touch of Envy.
  • Spoiled Brat: As noted above, all the kids are this to some extent, but she's the worst by far and the Oompa-Loompa song that sends her off is about why.
  • Tempting Fate: When she realizes Mr. Wonka won't let her have a squirrel, she declares "Who says I can't! I'm going in to grab me a squirrel this very minute!" And she does, and... The 2013 musical goes with "No one says 'No' to Veruca Salt!" as she heads into the room, which fits this trope even better.

In the 1971 film:
"I want it NOW!"
  • Adaptational Villainy: In this movie, she makes the jump from brat to corporate spy, and plans to sell Wonka's gobstopper to Slugworth, which is what drove Wonka to being a recluse. Despite the fact that she is already very rich.
  • Attention Whore: Her It's All About Me attitude crosses into this ("Hey, she got two [Everlasting Gobstoppers]! I want another one!") which is likely why she's the only brat to get a Villain Song in this version.
  • A Birthday, Not a Break: A bit inverted in Real Life for Julie Dawn Cole: While the scene with her character's "demise" after her "I Want" Song was filmed on October 26, 1970, the actress realized in real life that the date on which it was shot was actually her 13th birthday. There are conflicting accounts on what truly happened: in the DVD Commentary Julie Dawn Cole claims that "'no one wished her a happy birthday" and then she found out that Denise Nickerson would be doing her singing voice and yet on these interviews she says they did celebrate her birthday on set (Gene Wilder even arranged for a color photographer to come on-set and take stills all day which he gave to her for her birthday present). It still ended up with her being shoved down the chute, though.
  • Cute But Psycho: Maybe not quite, but she's borderline this.
  • Everyone Has Standards: She does show concern when Augustus falls into the chocolate river and, despite their animosity, is considerably freaked out when Violet starts turning into a blueberry.
  • "I Want" Song: "I Want It Now", appropriately enough. The bratty tone almost pushes it to being a Villain Song.
    I want a feast!
    I want a
    bean feast!
    Cream buns and doughnuts and fruitcake with no nuts so good you could go nuts. / No, now!
    I want a ball! I want a party!
    Pink macaroons and a million balloons and performing baboons and / Give it to me / Now!
  • Jerkass: Of the four bratty kids, she is easily the worst.
  • Large Ham: Perhaps inevitable, given her need to be the center of attention and get everything she demands.
  • Lying Finger Cross: After promising Mr. Wonka she wouldn't give away the Gobstopper to anyone.
  • Narcissist: She is utterly self-centered and believes that the whole world revolves around her. Moreso, she reacts violently when those around her don't cater to her demands.

In the 2005 film:
"Where's my Golden Ticket! I WANT my Golden Ticket!"

In the 2010 opera:

  • Adaptational Villainy: After she gets her ticket she agrees to a deal with a television host: With her father's help, she'll secretly film the interior of Mr. Wonka's factory; this makes her a spy as well as a greedy brat. Veruca also gets the most stage time of the brats in this version, explicitly being portrayed as a ruthless Foil to selfless Charlie Bucket. With this in mind, while in all other versions she is the third brat to be eliminated from the tour, here she's the last to go.
  • Bound and Gagged: One squirrel gags her while she is tested during her elimination.note 
  • Enfant Terrible: She never even tries to be a Bitch in Sheep's Clothing.
  • Girls Love Stuffed Animals: She has a teddy bear...that she strangles to work out her frustration with not getting a Golden Ticket right away. Also counts as part of her...
  • Troubling Unchildlike Behavior: Her Adaptational Intelligence and Adaptational Villainy (see above), combined with her being played by an adult actress, make her come off as far older than she's supposed to be.

In the 2013 musical:

  • Baby Talk: She unsuccessfully tries this on Mr. Wonka to wheedle a "cwootsie wootsie squiwwuw" from him in the Nut Room.
  • Cute But Psycho
  • Fur and Loathing: Played straight!
    Willy Wonka: It's a pleasure, dear / To have you here / Where did you get that mink?
    Veruca Salt: Are you for real?
    Mr. Salt: It's baby seal / That's clubbed and tickled pink
  • "I Am" Song: With her father, "When Veruca Says". (One could also call it a She Wants Song.)
  • Troubling Unchildlike Behavior: The first thing she asks for after getting her Golden Ticket is North Korea.
  • Tutu Fancy: Zig-zagged. She loves ballet so much that tights, toeshoes, and tutu are everyday wear for her, but her overall outfit is surprisingly practical for dancing! Even her fur jacket is waist length so it won't get in the way when she dances.

In the 2017 Broadway Retool:

     Violet Beauregarde 

Played by:
Denise Nickerson (1971 film)
AnnaSophia Robb (2005 film)
Ashley Emerson (2010 opera's 2012 recording)
Jade Johnson (2013 musical's Original London Cast Recording)
Trista Dollison (2017 Broadway Retool of the musical)
Dallas Lovato (Tom and Jerry: Willy Wonka and the Chocolate Factory)

The third Golden Ticket winner is a world-champion gum chewer who is both prideful and rude. She is the second child to "drop out" of the tour when she samples an experimental stick of gum that Mr. Wonka doesn't have quite right yet. Traditionally played as American in adaptations, with a surprising tendency to be from the mid-Southern/Southeastern U.S. (2005 film, 2005 stage musical Roald Dahl's Willy Wonka, 2010 opera).

In the book and across adaptations:

  • Ain't Too Proud to Beg: Given that her punishment is the slowest-acting, she's frequently shown screaming for someone to help her. This is present in both film adaptations and the 2013 musical.
  • Baleful Polymorph: Her karmic punishment is a transformation into a giant blueberry! In the 2005 film her mom's first concern is that she won't be able "to compete". In the 2013 musical her father has similar concerns ("I can't have a blueberry on the cover of Vogue!") but quickly thinks of other moneymaking opportunities for her in her new form...and forgets that she's in real danger.
  • Bubblegum Popping: Does this a few times in the 2005 film and twice in the 2010 opera.
  • Competition Freak: Besides her pride in becoming a record-holding gum chewer, she became involved in the Golden Ticket contest more for the glory she'd get if she found a ticket than desire for the actual prize, though she's quite happy to know that said prize will include gum! In the 2005 film, this becomes her defining trait, and it is also played up in the 2013 musical ("I may love chewing gum/But I like winning even more"), owing to Values Dissonance over her gum-chewing habit being portrayed as a vice equivalent to those of the other brats.
  • The Ditz: Of the kids the audience gets to know at length (Augustus being a case of We Hardly Knew Ye), she is the dumbest. This is downplayed in the 1971 film and eliminated in the 2005 film, but brought back in The Golden Ticket and the 2013 stage musical, in which she's effectively a Brainless Beauty in the making.
  • Foil: To the other brats. Like Charlie, she's the only other one who actively searched for and found a Golden Ticket on her own initiative; Augustus found his through blind luck and current habits, Veruca had her dad's factory workers hunt for it, and Mike didn't care. Unlike Charlie, she's prideful that she won whereas he's humbled by the find.
  • Foreshadowing: She just has to be wearing blue that day in most illustrations and adaptations (the 2013 musical goes with purple instead).
  • Harmful Healing: After transforming into a gigantic blueberry, Violet has to be rolled to the Juicing Room to have the juice squeezed out of her in order to get her back to normal. In both film adaptations, the Oompa-Loompas seem to be very rough when rolling her, too — she's even screaming in terror and pleading for help as she is rolled (from around ten feet high, no less) around in the 2005 film.
  • "I Am" Song: The 2005 stage musical Roald Dahl's Willy Wonka gave her "Chew It" (see below for 2013 musical-specific tropes).
  • Iconic Item: Her world record-breaking piece of chewing gum, which she is still chewing on at every opportunity after three months. When she's asleep, she puts it on her bedpost for safe keeping; when she's awake and not chewing on it (namely at mealtimes), she sticks it behind her ear.
  • Inflating Body Gag: One of the earliest and arguably most infamous examples of this trope.
  • Magic Pants: During/after her blueberry transformation.
    • Played straight by most illustrators of the book.
    • Zig-zagged in the 1971 film: Violet's belt pops off as her body becomes too big for it, but upon her complete transformation, her clothes appears to fit her round new form completely.
    • Somewhat subverted in the 2005 film: Violet grows to around 10 feet in diameter but her clothes, though visibly stretched, still manage to somewhat stay on, though barely enough to conceal her modesty — her shiny, blubbery, blue belly is fully visible. They also, for some strange reason, turn a darker shade of blue with her — perhaps blueberry juice?
    • Played straight in the 2010 opera: Violet's cowgirl outfit grows and turns blue along with her, even though there's no reason it should do either.
  • Meaningful Name: Beauregarde is French for "good/high regard", which she clearly holds herself in.
  • Motor Mouth: Taken to ridiculous levels in the 1971 film — and further still in the 2002 unabridged audiobook (not surprising, as the reader is Eric Idle). In the 2013 musical, it turns out that her chewing skill sprang up from her mom's efforts to keep her quiet, and one of the requirements to play her is that she can rap.
  • Not Quite Back to Normal: She is changed back from being a blueberry, but remains permanently purple-skinned. In the 2005 film, her "recovery" also leaves her whole body absurdly flexible. In the 2013 musical, after she explodes in a shower of glitter, Mr. Wonka has her swept out and away to be restored, but with no guarantee that the (offstage) Disney Death won't result in this trope.
  • Oral Fixation: She loves chewing gum so much that she only takes breaks at mealtime and bedtime, and even then, that little piece of gum is never far away.
  • Poke the Poodle: Unlike the other brats she is never mean to anybody, though she admits that she used to switch her gum once a day and leave the previous wad on an elevator button; she was highly amused by the reactions of adults when they inevitably got it on their fingers. ("You get the best results with women who have expensive gloves on.")
  • Prophetic Name: Oh, her fate will leave her very violet, indeed.
  • Quirky Curls: The most energetic, ditzy, and goofy of the five Golden Ticket finders has a "great big mop of curly hair", which is red to boot. The only major adaptation that sticks with red hair is The Golden Ticket, and even there it's long enough to be in pigtails.
  • Seven Deadly Sins: She represents Pride.
  • Simpleton Voice: In the 2013 audiobook, reader Douglas Hodge gives her the "high-pitched, nasally whine" variant of this trope.
  • Too Dumb to Live: Really, popping a piece of still-experimental gum in your mouth straightaway? In the book and 1971 film her parent(s) initially warn her not to do anything stupid...but in those and other versions, as soon as she starts to chew and declares that it works just as Mr. Wonka says, they cheer her on, proud that she's the first person ever to have a chewing gum meal. Never mind that Mr. Wonka continues to demand she spit it out before she hits dessert... On top of that, in most versions, she's still chewing even after noticing that she's turned blue and/or has started inflating.
  • Trademark Favorite Food: Gum!

In the 1971 film:
"Can it, you nit!"
  • Adaptational Jerkass: Violet was very much a Designated Villain in the book. While not as mean as she is in the 2005 film, here she's shown to be far more arrogant than she is in the book - as well as frequently fighting with Veruca.
  • Big "SHUT UP!": She finally tells Veruca off when she begins demanding an Oompa-Loompa. See caption quote.
  • Book Ends: The DVD Commentary begins and ends with her actress, Denise Nickerson, asking for gum.
  • Bratty Half-Pint: She tends to snap at others (her mom, Veruca) when she gets annoyed with them.
  • Captain Obvious: When Augustus gets stuck in the pipe, she helpfully says "He's blocking all the chocolate!"
  • Curtains Match the Window: Brown eyes and long chestnut hair.
  • Daddy's Girl: She and her father seem to have a very good relationship, except for when he tries to steal her interview time.
  • Disproportionate Retribution: Wonka mentions that Blueberry!Violet must be rolled to the Juicing Room or else she will explode. Violet seems actually quite likable in this version, despite not having the best of manners, and the possibility of exploding seems far too hard on someone whose only "crimes" were having bad manners and chewing gum, especially a child.
  • Everyone Has Standards: Even she can't stand Veruca. When Veruca starts demanding an Oompa-Loompa, Violet rolls her eyes in annoyance and tells her to shut up.
  • Hypocritical Humor: "Spitting is a dirty habit." As she's picking her nose!
    Wonka: I know a worse one.
  • Nice Hat: She has a little red one.
  • Popping Buttons: Her belt pops off when she starts inflating, though the rest of her outfit stretches out.
  • The Speechless: After she becomes a blueberry; this makes her Ironic Hell complete, as the former Motor Mouth no longer can muster the words to speak, whether out of the gum's symptoms or out of sheer humiliation.

In the 2005 film:
"I'm a winner!"
  • Action Girl: She can go toe to toe with male, adult karate opponents and take them down handily — and does in her Establishing Character Moment.
  • Adaptational Badass: Whatever she sets her mind to doing, she works hard to become the best there is at it, be it sports, gum chewing, etc.
  • Adaptational Jerkass: She's noticeably malicious in this film, far more than in any other adaptation.
  • Adaptation Dye-Job: Blonde in this, while brunette in other versions.
  • Alpha Bitch: She has a more domineering personality in this version and is obsessed with being better than everyone else.
  • Boyish Short Hair: It's a straight blonde bob, which provides a contrast to Veruca's Regal Ringlets.
  • Cursed with Awesome: At the end, she is now perhaps permanently blue, but with a body that can stretch like rubber. Mr. Wonka and Violet's mother are the ones who view it negatively; Violet herself reckons (and rightfully so!) that this "punishment" is made of win.
    Violet: Look, mother, I'm much more flexible now!
    Violet's Mother: Yes, but you're blue.
  • Cute Bruiser: See Adaptational Badass above.
  • Disappeared Dad: Her father, if she even has one, is nowhere in sight.
  • Freudian Excuse: It's implied that she has been shaped into what she is by her Stage Mom. And, contrary to the other kids whose vices are more the consequences of bad parenting methods, Mrs Beauregarde willingly turned her into a bratty Competition Freak.
  • Glory Seeker: Her life is devoted to winning. Nothing else.
  • Go-Getter Girl: Her fixation on triumphing in any competition that comes her way results in a rather serious, all-business manner for her age.
  • Heavy Voice: As a gigantic blueberry, her voice is noticeably deeper.
  • I'm Not Here to Make Friends: This is her attitude towards winning the secret prize promised by the tour, though she doesn't say the actual phrase.
  • Little Miss Badass: She's shown to be very good at karate.
  • Sycophantic Servant: Not "servant," exactly, but she immediately acts cheerful and polite in an attempt to win over Wonka so that she can win the competition.
  • A Taste of Defeat: Almost literally, as sampling the experimental gum means she loses out on the super-prize — perhaps the first competition she's ever lost. She takes it well though, thanks to her newly flexible body once she's squeezed out!
  • Tomboy and Girly Girl: She's the Tomboy (competitive, athletic, wears a tracksuit, Boyish Short Hair) to Veruca's Girly Girl (spoiled rich girl, pink dress, Regal Ringlets).
  • Villains Want Mercy: As the gigantic ten-foot Blueberry!Violet is rolled around the Inventing Room, she is heard screaming, groaning, and audibly begging for help, as the rest of the group simply watches.
    Blueberry!Violet: [stuck in the Inventing Room Door] Mother, help me! Please!

In the 2010 opera:

  • Comically Missing the Point: As the group watches in horror as she inflates, Violet, in Cloud Cuckoolander territory, simply goes on about the delicious taste of the blueberry pie stage of Wonka's Three-Course-Meal Gum; indeed, she seems not to notice that anything has happened to her at all until Wonka mentions juicing her.
  • Daddy's Girl: Unlike Veruca Salt, she has a healthy relationship with her dad. Her Golden Ticket find came about when she was willing to break her perpetual diet and have just one bite of chocolate at his urging. ("So I said, 'Okay, Popsy-poo...I think I'll do it just for you.") Later, he stays with her while she's being de-juiced, and the last we hear of her as the scene changes is her crying out for him as the process begins.
  • Girlish Pigtails: As with the other brats in this adaptation, Violet is played by an adult rather than an actual child, so having these is helpful in making her look younger.
  • Harmful Healing: Blueberry!Violet has to have the juice squeezed out of her to turn her back into a human, and the end of "It's Three-Course-Meal Gum!" suggests that this is indeed not a comfortable process for her.
  • I Just Want to Be Beautiful: Her primary vice is vanity rather than pride in this version, and it's why she's so weight-obsessed.
  • Kids Are Cruel: Constantly picks on Augustus's weight to the point of saying he deserves his karmic fate just for being fat!
  • Weight Woe: She's obsessed with being thin, making her a Foil to Fat and Proud Augustus Gloop. This is why she's always chewing gum — it substitutes for actual eating. This makes her transformation into a giant round blueberry (as Wonka says, "She's gone too far! She's grown too big! She's like a bloated, purple pig!" - - the chocolatier even has the Oompa-Loompas, in a rather humiliating manner for Violet, bring the Juicing Machine to her) a touch more poetic.

In the 2013 musical:

  • Ain't Too Proud to Beg: For a rich kid nicknamed the "Double Bubble Duchess"/"Queen of Pop", Violet certainly isn't hesitant to beg in a terrified plea for help as her blueberry body is spun around like a disco ball during "Juicy!"
  • Aristocrats Are Evil: A downplayed variant. The starlet has no royal blood but is a celebrity who proudly boasts of being "The Double Bubble Duchess" or "Queen of Pop"; her father also refers to her as "royalty of the highest order". They may not be evil, but putting on such airs emphasizes their egotistical, obnoxious natures.
  • Attention Whore: Her and her father's single-minded pursuit of her fame and fortune despite her lack of anything that makes her worth paying attention to makes them both Attention Whores and Shameless Self Promoters. And it works...until they arrive in the world of someone who may be boastful but earned the right to brag through years of hard work and cultivated creativity. Ultimately, her foolishness makes the center of attention in a way she doesn't want.
  • Be Careful What You Wish For: As explained in "Juicy!":
    Oompa-Loompas: Juicy is a girl named Violet B.
    She doesn't have a talent as far as we can see
    But she wants to be a star
    Though there's nothing she can do

    Mr. Wonka and the male Oompa-Loompas: She's gonna be famous now
    For just turning blue
  • Boastful Rap: Her original "I Am" Song, "The Double Bubble Duchess", is this.
  • Bratty Half-Pint: Owing to her stardom-inflated ego.
  • Break the Haughty: Her ego and sense of entitlement factor heavily into her fate — why shouldn't she try the experimental gum? Why should she heed that crazy old guy warning her to stop?
  • Daddy's Girl: She and her dad love each other — and feed each other's egos to boot.
  • Disney Death: She explodes offstage! Mr. Wonka says there's hope: Provided she hasn't started to ferment, she can be restored to at least Not Quite Back to Normal and invoke this trope. The audience never finds out exactly what happens to her.
  • Embarrassing Nickname: She may be the Double Bubble Duchess/Queen of Pop to the wide world, but when she meets her comeuppance the Oompa-Loompas give her the rather less flattering nickname "Juicy!" (West End staging only).
  • Everything's Better with Sparkles: She wears a sparkly purple velour jumpsuit at all times. In the original West End staging, this has a blackly comic payoff when she undergoes her transformation — she becomes the glitter ball at the center of a Gratuitous Disco Sequence, and when she explodes, a sparkly Confetti Drop ensues.
  • Foil: Besides being prideful and rude (as in the novel), she is also famous without being talented or even intelligent, whereas Charlie is dirt-poor but has the potential to be a great inventor if only someone could give him a leg up to realize his work.
  • Harmful Healing: Mr. Wonka's method of supposedly getting her back to normal after she explodes ("...or — you know — near enough...") does not sound pleasant.
  • "I Am" Song: "The Double Bubble Duchess" in the original West End staging, which was replaced with "Queen of Pop" in the final months. The latter song carried over to the Broadway staging.
  • "Pop!" Goes the Human: She explodes after turning into a gigantic blueberry.
  • Race Lift: She and her father are black rather than Caucasian, though they could be played by other races. Initially, only non-white actresses were sought for the role of Violet (which, like the other child roles in this show, is rotated among 3-4 different performers), but complaints about stereotyping — given that she raps — being added to Violet's traditional brattiness led to this requirement being dropped by the end of 2013. In any case, this is the first major adaptation to firmly break away from Monochrome Casting all the Golden Ticket winners as white. (In the Atlanta Opera production of The Golden Ticket Charlie's role was alternated between a white and a black actor, but that was likely Ability over Appearanceall of his grandparents were white, raising some weird Fridge Logic over who his parents, absent in that version, were.)
  • Seven Deadly Sins: In this version she represents Sloth as well as Pride — she has fame but never put in real effort to earn it.
  • Shameless Self-Promoter: With her father's help she has parlayed her "talent" into a full-fledged career in the entertainment industry, as he explains to Wonka: "She's got her own TV show, line of perfume, and we are opening boutiques all over the world." Pride is definitely her primary vice.

     Mike Teavee 

Played by:
Paris Themmen (1971 film)
Jordan Paul Fry (2005 film)
Gerald Thompson (2010 opera's 2012 recording)
Jay Heyman (2013 musical's Original London Cast Recording)
Michael Wartella (2017 Broadway Retool of the musical)
Lauren Weisman (Tom and Jerry: Willy Wonka and the Chocolate Factory)

The fourth Golden Ticket finder's favorite activity is watching television in the novel and 1971 film. Because Technology Marches On, his interests are expanded to include all forms of potentially mind-rotting electronic media in later adaptations. The last brat to be eliminated from the tour when he decides he wants to be "sent by television" via the Television-Chocolate setup. Traditionally played as American in adaptations.

In the book and across adaptations:

  • Bratty Half-Pint: His Establishing Character Moment in the novel and 1971 film is his telling off the reporters who want to interview him because he's busy watching television. During the tour, he is prone to incredulous and/or rude comments and questions about Mr. Wonka's creations. Tellingly, Mr. Wonka becomes subtly, progressively more annoyed by them, hence his habit of brushing them off with claims that the boy's mumbling.
  • Cursed with Awesome: Mr. Wonka regards Mike's ultimate fate as this, pointing out that "Every basketball team in the country will be trying to get him."
  • Firing in the Air a Lot: A kid-friendly version — Mike has no less than eighteen toy pistols on his person at all times in the book, and while watching action shows likes to fire them in the air. In the 1971 film, he has a toy pistol and admits to the TV interviewer "Wait 'til I get a real one. Colt .45. (turning to his dad) Pop won't let me have a real one, will ya Pop?" "Not 'til you're 12, son." The 2005 film and 2013 musical make him a fan of Shoot 'em Up video games, while the 2010 opera has him carrying a toy machine gun with him.
  • "I Am" Song: In the 2005 stage musical Roald Dahl's Willy Wonka, he has "I See It All On TV".
  • Incredible Shrinking Man: He winds up an inch high (usually larger in adaptations — but only fashion doll-sized at most) when he tries out the Television Chocolate setup on himself.
  • Jerkass Has a Point: When Mr. Wonka reflects on Violet's fate, saying that her chewing gum habit was a nasty one, Mike asks him why he manufactures gum if he hates it so much.
  • Meaningful Name: As his surname implies, he's obsessed with television.
  • New Media Are Evil: His Oompa-Loompa song in the book and the 2005 film is mostly a long diatribe against television.
  • Noodle People: He's stretched out on a machine that tests chewing gum to restore his height — rather too much, resulting in him becoming a ten-foot-tall noodle person!
  • Seven Deadly Sins: He represents Sloth in all versions. Sometimes it is combined with Wrath: He loves Shoot 'em Up games in the 2005 film and 2013 musical, wants to be a Sociopathic Soldier in the opera, and is an Enfante Terrible in the musical.
  • Skewed Priorities: He's absolutely fine with being miniaturized in the book because not only has he become the first person to be sent by television, he can still watch TV!

In the 1971 film:
"Can't you shut up? I'm busy!"
  • Adaptational Villainy: Downplayed. He's agreed to sell an Everlasting Gobstopper to Slugworth. He even asks his mother if he might pay extra to know about the Wonkamobile.
  • Dissonant Serenity: Besides Wonka himself, Mike is the only one unfazed by the weirdness of the factory. He even reacts to Violet's inflation by trying to poke her.
  • Nightmare Fetishist:
    • He actually seems to enjoy the boat ride, noting "Boy, what a great series this would make" and, afterwards, "Now why don't they show stuff like that on TV?"
    • He's also having a great time watching Veruca tear apart the Golden Goose room.
  • What the Hell Is That Accent?: Mike is supposed to be from Arizona but speaks in a stereotypically New York fashion when he's trying to sound like a tough guy (probably Rule of Funny).

In the 2005 film:
"I hate chocolate."
  • Adaptational Intelligence: He is upgraded from merely a bratty TV-obsessed kid into a jaded Insufferable Genius, accounting for most of the tropes below.
  • Adaptational Jerkass: He's a lot less pleasant than in the 1971 film.
  • Ascended Extra: Mike Teevee is more prominent here, and more antagonistic.
  • Bare Your Midriff: After he's stretched Paper Thin.
  • Bowdlerise: After explaining how he got his ticket, Mike says that "even a retard could do it." The term "retard" is considered to be a slur, so on British TV it is changed to "even an idiot could do it", and ABC Family omits it.
  • Break the Haughty: In most versions, Mike loves his teleportation misadventure, but here he has a terrifying time as he's zapped from channel to channel.
  • Challenge Seeker: He doesn't even like chocolate. He only went after the golden ticket to prove that he could cheat the system and figure out exactly in what store and in which bar it would be.
  • Comically Missing the Point: While explaining how he got his ticket. He apparently deduced it from so many facts, then found out what store and bar the ticket would be in. When asked about how the chocolate bar he bought tasted, he says...
    Mike: I don't know. I hate chocolate.
  • The Comically Serious: He can't appreciate the amazing World of Chaos that is Mr. Wonka's factory and would rather point out how everything shouldn't be able to work/exist — even when zapped by the shrink ray.
  • The Complainer Is Always Wrong: He doesn't really do anything but snark, and the questions he asks and things he points out are usually justified, yet at least in the TV room everyone acts like he's completely wrong and that he deserved his fate. Then again, maybe he did; he also violently tosses aside two Oompa-Loompas in his charge towards the controls, forcing others to scatter for safety instead of trying to stop him.
  • Creative Sterility: What seems to be Mike's problem, in addition to a video-game-induced violent streak: he's so jaded by TV and videogames and so focused on facts that he's completely unimpressed by Mr. Wonka's factory.
  • Deadpan Snarker: As noted above, he doesn't do much besides snark!
  • Foil: He's this to Charlie Bucket, who hasn't lost his sense of wonder and can appreciate the marvels of the factory.
  • Insufferable Genius: Mr. Wonka is also this trope in this adaptation, but as the two characters are brilliant in different ways and have opposing worldviews, they're in conflict with each other.
  • Jerkass Has a Point: Before he throws himself out of the contest, he points out that Mr. Wonka has invented a teleporter, but doesn't seem to see any use for it besides delivering candy bars. Mr. Wonka has a valid reason for this, however...
  • Paper People: After he's put through the taffy-puller, he's not only extremely tall but almost paper-thin as a result. (In the novel Mr. Wonka prescribes the boy Supervitamin Candy to fatten him up once he's stretched, so this trope is exclusive to the film.)
  • Perpetual Frowner: Is almost always frowning boredly.
  • Politically Incorrect Villain: When he tells the media how he got his Golden Ticket, he comments that "a retard could figure it out".
  • Romanticism Versus Enlightenment: Prefers Enlightenment and will have none of Mr. Wonka's messed-up Sugar Bowl.
  • Ungrateful Bastard: Lampshaded. He hates chocolate and has no business or reason to ever go to one, let alone Wonka's amazing factory. Yet he won't give up his ticket, to allow another child who would appreciate the prize, take his place.

In the 2010 opera:

  • Adaptation Personality Change: In the novel and most adaptations he's the smartest of the brats (not that that's saying much), but in this version he's no smarter than Augustus or Violet — he might even be dumber — and his habit of questioning Mr. Wonka during the tour is completely dropped.
  • Attention Deficit... Ooh, Shiny!: While he's written as the oldest of the brats, he's the hardest to keep in one place. In his opening scene, when he's being interviewed in a TV studio, he won't stay in his chair and winds up causing a blackout. Later, he chases the floating bubbles in the Bubblevision room.
  • Speech Impediment: He has a stutter, suggested to be a side effect of his hyperactivity.
  • Teens Are Monsters: Aged up to 13 (from nine in the novel) and appears to be a Type 2 Sociopathic Soldier in the making, as he's specifically obsessed with programs about violence and war. Luckily, his Attention Deficit... Ooh, Shiny! nature keeps him from being truly dangerous to others.
  • Totally Radical: His introductory monologue: "C-c-c-c-cool B-babies!/Plug me in, man! Wicked!" Oddly, later he uses terms like "Wowee!" and "See you later, allig-g-g-gator!", which aren't any less dated and sound even stranger given the character's intended age.

In the 2013 musical:

  • Adaptational Intelligence: Like his 2005 counterpart, he's a whiz with computers and actually goes that version of the character one better in that.
  • Adaptational Villainy: While he's not an outright antagonist to any one character he is responsible for a great deal of misery in the lives of those around him and resorts to criminal means to get his ticket, making him by far the worst of the brats in this version. While he enjoys his sojourn in cyberspace and is the one brat who doesn't get an Uncertain Doom, he does end up with a Fate Worse Than Death — his long-suffering mother doesn't want him restored to his original size.
  • The Cracker: He hacks Mr. Wonka's computers, which is how he got a Golden Ticket without having to buy a Wonka Bar at all! Mr. Wonka isn't happy about this to say the least, but he lets him into the factory anyway and even asks the kid to explain how he did it in "Strike That, Reverse It".
  • Enfant Terrible: The Teavees let electronic media babysit him because, despite all their best efforts, they can't keep him from getting into real-world trouble if he isn't glued to a screen of some sort. Said trouble, which he seems to get into solely for his own amusement, includes smoking two packs of cigarettes a day (this is down from what he was smoking before), setting a cat on fire, chloroforming a nurse, and stealing a German tank!
  • Foil: Besides being jaded and unimpressed by the wonders of the factory while Charlie is fascinated with it, Mike embodies destruction while Charlie embodies creation.
  • "I Am" Song: With his mother, "It's Teavee Time" (his part also overlaps with Villain Song) in the West End staging, "What Could Possibly Go Wrong" in the U.S. version.
  • It Amused Me: If he isn't enjoying his video games and whatnot, he's committing actual destructive acts for fun, so as Mrs. Teavee explains, "the authorities request/That little Mike not leave the house."
  • Jerkass Has a Point: He makes a good point when he asks Mr. Wonka why he sells chewing gum when he finds it gross. Unfortunately, Wonka pretends he didn't hear his question.
  • Ooh, Me Accent's Slipping: While Jay Heyman handles Mike's American accent well, when he shouts "You can't stop progress!" in the lead-in dialogue to the cast album version of "Vidiots" he does use the British pronunciation of progress.
  • Out of the Frying Pan: He runs the risk of getting lost forever in Cyberspace ("What once was viral's soon forgot"), but never fear, the others manage to isolate him in the Television Chocolate monitor and Mrs. Teavee pulls the now-miniaturized boy out. Turns out she likes him better that way...

In the 2017 Broadway Retool:

  • Phoneaholic Teenager: Downplayed. Mike carries his phone around and tries to get a signal on it after the Mixing Room visit. Wonka puts a damper on those plans by stepping on his phone and breaking it.
  • Social Media Before Reason: Mike tries to film Augustus' demise until his mom calls him out on it.

Other Adult Characters

     Grandpa Joe 

Played by:
Jack Albertson (1971 film)
David Kelly (2005 film)
Keith Jameson (2010 opera's 2012 recording)
Nigel Planer (2013 musical's Original London Cast Recording)
John Rubinstein (2017 Broadway Retool of the musical)
Jess Harnell (Tom and Jerry: Willy Wonka and the Chocolate Factory)

Charlie Bucket lives in a Multigenerational Household with his parents and both sets of grandparents. The grandparents have been bedridden for decades when the story begins. Of the four, Grandpa Joe — who is fascinated by Wonka's Factory and knows all the stories that surround it — is the most hopeful that Charlie will find a Golden Ticket. When the boy does, the old man is so excited and happy that he gets out of bed to serve as Charlie's guardian for the factory tour.

  • Ascended Extra: In the books he's just sort of there along with Charlie, though he also handles a lot of exposition early on in the first installment. Most adaptations give him more to do; by way of screen/stage time, this character is usually the secondary adult lead.
    • In the 2005 film and the stage musical Roald Dahl's Willy Wonka, he's actually a former employee of Mr. Wonka's.
    • In The Golden Ticket he is not even bedridden; he seems to be the one who supports (to however small extent) the rest of the family, as in this version Charlie's parents are absent. This is zigzagged, though — see below.
  • Cool Old Guy: Downplayed in most versions, but he's certainly fun to be with. Definitely this in the 1971 film, owing to his Deadpan Snarker tendencies (heck, he even enjoys the boat tunnel at first).
  • Demoted to Extra: As the other grandparents become Ascended Extras in Charlie and the Great Glass Elevator, he becomes this.
  • Doting Grandparent: All of Charlie's grandparents love him dearly, but Grandpa Joe isn't just a relative, but a true friend who's willing to sacrifice what little money he's saved up to get Charlie a Wonka Bar in hopes of the boy finding a Golden Ticket. He also is determined, in both the 1971 and 2013 versions, to make sure Charlie gets everything he's been promised.
  • Greater Need Than Mine: He gives up the tiny bit of money (a few coins of change, really) he's saved so Charlie can buy a Wonka Bar and — hopefully — find a Golden Ticket in the novel and most adaptations. In the 1971 version Joe uses the money Charlie, having earned it on a paper route, had earmarked for the former's tobacco habit (which he's giving up anyway). In the 2013 musical, Grandma Josephine points out that the 53 and 1/2 pence Joe stashed away in a sock was for his funeral, but Joe's says he's fine with just being packed away in a rubbish bag and left on the curb when he dies if Charlie gets his heart's desire! Notably, in all versions this Wonka Bar doesn't yield a ticket.
  • Mr. Exposition: He delivers most of the backstory of Mr. Wonka and the factory in the opening stretch of the novel and most adaptations.
  • Older Sidekick: For Charlie.
  • Red Oni, Blue Oni
    • In the 1971 film, he is the Red Oni — optimistic, feisty, and willing to break rules — to Mrs. Bucket's Blue Oni, who is realistic and serene. Interestingly, in this adaptation she is his daughter, whereas in the novels her father is Grandpa George.
    • In the 2013 musical, he is the optimistic, fun-loving, easygoing Red Oni to grumpy, cynical Grandpa George's Blue Oni. And he's married to the demure, sweet Grandma Josephine, making for another Red/Blue combination.
  • The Storyteller: He knows all kinds of stories — including the history of Mr. Wonka and his factory — and relating a story or two to Charlie is a nightly after-dinner ritual.

In the 1971 film:
"'cause I had said, it couldn't be done! But it could be done!"
  • Ambiguously Jewish: He's portrayed by actor Jack Albertson, who was born to a Russian-Jewish family in Massachusetts in 1907.
  • Broken Pedestal: He admires Mr. Wonka greatly and is as excited by Charlie at the prospect of meeting him and touring the factory. But as the tour ends, Mr. Wonka's choice to deny Charlie the lifetime supply of chocolate, compounded by a What the Hell, Hero? speech, over the Fizzy Lifting Drinks incident shatters this. Grandpa Joe delivers his own What the Hell, Hero? speech in response; by the time Mr. Wonka cuts him off, he's called the man an "inhuman monster" who cruelly strung Charlie along. He is so embittered by this that he decides he'll get revenge on him by selling the Everlasting Gobstopper to Mr. Slugworth, whom he spoke of as "the worst" of Mr. Wonka's rivals. What's sad about this is that this is a subversion, as Grandpa Joe did encourage Charlie to sign the contract without paying close attention to it and it was his idea for them to steal the drinks, so Mr. Wonka's actions are justified, if not the blunt, cruel way he delivered the news to them. Charlie knows this too, so he chooses to return the Gobstopper to Mr. Wonka.
  • Deadpan Snarker: Only Mr. Wonka himself can out-snark him. "If [Veruca's] a lady, then I'm a Vermicious Knid!" is just one example of his skill.
  • Gallows Humor: His snarker devolves into this as the tour goes on.
    Grandpa Joe: Well, Mr. Salt finally got what he wanted.
    Charlie: What's that?
    Grandpa Joe: Veruca went first.
  • The Millstone: He's pretty much a bad influence on Charlie all the way through. He tells Charlie not to read the contract he signs at the beginning of the tour, he talks him into trying the fizzy lifting drinks, which almost gets both of them killed and leads to the infamous "You get nothing!" outburst, and after said outburst, he suggests giving the Gobstopper to Slugworth as revenge. Charlie doesn't, and this is what earns him the factory.
  • Never My Fault: At the end of the film, after Mr. Wonka denies Charlie the chocolate and gives a What the Hell, Hero? speech to him over the Fizzy Lifting Drinks incident, he furiously chews Mr. Wonka out in response, calling him an "inhuman monster" who strung Charlie along and vowing revenge by selling the Everlasting Gobstopper to Slugworth. Of course, not only did he encourage Charlie to sign Wonka's contract without reading it, but it was Grandpa Joe's idea to steal the drinks in the first place. That said, the reason he's outraged is because Wonka is apparently weaseling out of the deal by punishing a little boy for a harmless infraction that wasn't even his idea.
  • Papa Wolf: He's Charlie's grandfather but otherwise fits the trope perfectly.
  • Sidekick Song: "I've Got a Golden Ticket" is his reaction to finding Charlie's found the last of them, as he gets out of bed for the first time in twenty years.
  • Tempting Fate: In the Fizzy Lifting Drink room: "A swallow won't hurt us!"
  • What the Hell, Hero?: Attempts this on Mr. Wonka in response to his use of this trope on him and Charlie.

In the 2005 film:
"I’d give anything in the world just to go in one more time, and see what’s become of that amazing factory."
  • Adaptation Expansion: Overlapping with Ascended Extra, his knowledge of Willy Wonka's public Backstory is due to having been an employee of his. He was a clerk in Mr. Wonka's first chocolate shop and went on to work in his factory until the day it was closed.

In the 2010 opera:

  • Composite Character: With Adapted Out Mr. Bucket in the 2010 opera, since he seems to be the meager breadwinner of the family.
  • Demoted to Extra: His Mr. Exposition function is completely eliminated, his celebration when Charlie finds the last ticket is dropped, and he's sidelined from the final stretch of the tour when he stays behind to comfort Mrs. Teavee (Mike is third, not fourth, to be eliminated in this version), not appearing again until the denouement back at the shack.
  • Good Samaritan: Mrs. Teavee, in the wake of her son being shrunk by Bubblevision, is so traumatized that she begs for someone to stay with them while they wait for him to be restored. Mr. Wonka is indifferent, Veruca and her father don't care, but Grandpa Joe volunteers to stay behind and comfort her, figuring Charlie can manage on his own with the remaining tour group. (Charlie might have stayed behind too, but Mr. Wonka "sweeps him on board" the train to the Bazaar of the Bizarre, according to the stage directions.)

In the 2013 musical:

  • Born Unlucky: According to "Don'cha Pinch Me Charlie", the reason he became bedridden so long ago was that times were so tough he believed he was an example of this! "All my four-leaf clovers wilted/And my rabbit's foot had mange/The genie in the bottle turned up dead".
  • Fun Personified: The most fun-loving of the Bucket family members, which might be why he becomes the factory's offical taster and an honorary Oompa-Loompa.
  • The Munchausen: He loves to tell silly tall tales about his past: he claims to have fought with the Light Brigade, traveled with Scott of the Antarctic, ran a four-minute mile in the 1948 Olympics, etc. (An In-Joke detail reveals that he has at least one true feat to his credit, though — the uniform he wears to the factory marks him as having served as an RAF pilot in World War Roald Dahl did.)
    • Also present in the Broadway staging, but replaced with references to American history: he claims to have been a travel agent for Lewis and Clark, fought with General Custer, and took the wheel of the Titanic.
  • Sidekick Song: "Don'cha Pinch Me Charlie" is his response to the news that the boy has found the final Golden Ticket.
  • What the Hell, Hero?: In this version, this is his response to Mr. Wonka revealing that the lifetime supply of sweets is the Everlasting Gobstopper in a case of Exact Words, and unfortunately it presses Mr. Wonka's Berserk Button. Good thing Charlie understands both sides of the situation and can defuse it before it gets out of hand!

In the 2017 Broadway Retool

  • Adaptation Expansion: Similar to the 2005 film, he was an employee of Wonka's and worked as the factory's security guard until the day it was closed.
  • Sidekick Song: "I've Got a Golden Ticket" is revived from the 1971 film to replace "Don'cha Pinch Me Charlie".

     The Rest of the Bucket Family 

In the novels:

  • Adult Fear: In the sequel, poor Mr. and Mrs. Bucket are put through the emotional wringer in the second half when they watch their parents (besides Joe) accidentally get de-aged to babyhood or, in Grandma Georgina's case, out of this plane of existence. As Georgina is Mrs. Bucket's mother, she is particularly hard-hit by this. Dealing with the sight of the over-aged Georgina is similarly terrifying.
  • Alliterative Family: By marriage! Charlie's grandparents are named Joe, Josephine, George, and Georgina, and are almost always referred to as "Grandma/Grandpa [name]" to boot!
  • Ascended Extra: The grandparents become central to the plot of Charlie and the Great Glass Elevator.
  • The Chew Toy: Grandma Georgina in the sequel.
  • Fainting: Grandma Georgina does this when the Great Glass Elevator crashes through the roof of their house at the end of the first book.
  • Flat Character: All five in the first book; also applies to the counterparts who appear in the 1971 and 2010 adaptations. The sequel does take steps to give the grandparents distinct personalities, whereas in the first book they're virtually interchangeable, but adaptations usually take them in other directions than Dahl did.
  • Foil
    • As described below, Charlie's parents and grandparents are this to the brats' parents.
    • In the sequel, bad-tempered and snarky Chew Toy Grandma Georgina is this to the upbeat, always-in-control (but even snarkier) Willy Wonka.
  • Good Parents: Charlie's parents (except for the 1971 film and The Golden Ticket) and both sets of his grandparents. The fact that he has a loving, though poor, family makes him contrast with the bratty, dysfunctional rich kids even more. Charlie's parents get a duet in the 2013 stage musical, "If Your Mother Were Here", that makes this even clearer: They're both so busy working or looking for work that they don't get to spend much time together, but they both love each other and Charlie deeply, the essence of Good Parents.
  • Granny Classic: Both grandmothers, though they're too weak to do much anymore and not above the occasional moment of grumpy snark, come off as this in the first book. At the end and in the sequel, the pricklier, anxious sides of their personalities emerge in the presence of Willy Wonka, which is quite understandable.
  • Housewife: Mrs. Bucket in most versions, with the exceptions of the 1971 film and 2013 musical, both of which give her a job involving laundry on top of caring for her family.
  • Hysterical Woman: Grandma Josephine throughout the sequel — her panicking when Mr. Wonka flies the elevator really high to make a proper descent is what winds up sending the elevator into orbit. Later, her panicked despair as they face capture by Vermicious Knids gives Mr. Wonka a Eureka Moment. Mrs. Bucket also becomes this as most of the grandparents are de-aged to babies or out of existence altogether — in part because Grandma Georgina, who vanishes, is her own mother.
  • Unnamed Parent: Mr. and Mrs. Bucket, who have no given first names in the novels or any adaptations.

In the 1971 film:

  • Adapted Out: Mr. Bucket died sometime before the events of the 1971 film begin.
  • Ascended Extra: Mrs. Bucket gets a solo, "Cheer Up, Charlie". It's one of only three musical numbers set before the story gets to the factory.
  • Living Prop: Grandpa George and Grandma Georgina get next to no lines and hardly contribute to the plot. Grandma Josephine doesn't fare much better, but at least she gets 5 or 6 lines in. None of their actors are credited.
  • Red Oni, Blue Oni: Mrs. Bucket is the down-to-earth, realistic Blue Oni to Grandpa Joe's Red Oni here. Compare their musical numbers — the ballad "Cheer Up, Charlie" for the former and lively "I've Got a Golden Ticket" for the latter.

In the 2005 film:

  • Cloudcuckoolander: Grandma Georgina. Her Establishing Character Moment has her adding to the other characters' conversation about the factory the following: "I love grapes."
  • Cluster F-Bomb: Implied with Grandpa George; with each news story about the other four children, he gets increasingly disgusted by their bratty behavior. It all comes to a head with Mike Teavee's declaration that he doesn't even like chocolate. Grandpa George goes off on a rant that is unheard as Charlie's father covers his son's ears; the audience doesn't hear the rant either.
  • The Cynic: Grandpa George is the one who most often brings up the fact that Charlie really has no chance of finding a ticket. The first trope is ultimately inverted when he's the one who gives an idealistic speech to persuade Charlie to use the Golden Ticket, rather than sell it for cash.
  • Deadpan Snarker: Grandpa George's grumpiness makes him good at snarking. When Willy Wonka unintentionally insults the rest of Charlie's family in the late going, he adds "No offense" to his speech; Grandpa George replies "None taken, jerk."

In the 2010 opera:

In the 2013 musical:

  • Ascended Extra: All of them get moments in the spotlight in Act One — the grandparents get to help Grandpa Joe deliver "The Amazing Fantastical History of Mr. Willy Wonka" and later follow his lead in getting out of bed in "Don'cha Pinch Me Charlie". The parents have "If Your Mother Were Here" as they try to comfort Charlie.
  • The Cynic: Again, Grandpa George fits both tropes, mostly to be a foil to Fun Personified Grandpa Joe. Even in his sunnier moods, he has a glass-half-empty streak going — when Charlie finds his ticket and the family celebrates the rich possibilities ahead of them, he notes "We'll have no more cabbage suppers/Now I'll have to wear me uppers" and "We can even get divorces!"
  • Dirty Old Woman: Grandma Georgina — as the grandparents recount "The Amazing Fantastical History of Mr. Willy Wonka", she twice praises the man for his attractiveness. According to her, he "[h]as a sex appeal what makes me feel young!" and "Whips a swirl that makes a girl go wild".
  • Mr. Exposition: The grandparents are elevated to equal footing with Grandpa Joe with regards to this trope in the early going.
  • Parental Love Song: "If Your Mother Were Here" for both parents.
  • Red Oni, Blue Oni
    • Mr. Bucket does his best to have a glass-half-full attitude even as he loses his job in the early going, is creative enough to fashion Homemade Inventions to help the family get by, and loves to play with his similarly creative son (Red Oni), while Mrs. Bucket is the down-to-earth, gentle, practical enforcer of house rules (Blue Oni). Much of "If Your Mother Were Here" discusses the different ways they interact with Charlie — and how together they make Happily Married Good Parents as they each bring different good qualities to the table.
    • Grandpa Joe is optimistic Fun Personified (Red Oni) while Grandpa George is cynical and grouchy (Blue Oni).
    • Grandma Georgina is a feisty Dirty Old Woman (Red Oni) while Grandma Josephine is demure and sweet (Blue Oni).
    • Also, the grandparents maintain Red/Blue combinations as married couples! The relationships between them are nicely summed up by which section of the newspaper each reads first: Joe likes the cartoons, George the obituaries, Josephine the society pages, and Georgina the horseracing news.
  • Society Marches On: In the novel and 2005 film Mrs. Bucket is a Housewife with no job outside the home — even though Mr. Bucket can barely keep the family housed and fed and another paycheck couldn't hurt, the possibility that she might be able to bring in extra income is never broached. (She works in the 1971 film, since Mr. Bucket has passed on before it begins, leaving her the only able-bodied adult in the house.) In this version both of them have jobs allowing the family to scrape by, though Mr. Bucket loses his shortly before the action begins.

In the 2017 Broadway Retool

     The Bratty Kids' Parents 

General and book-specific tropes:

  • Adapted Out: The vast majority of adaptations do this, usually by reducing the number of adults who may accompany each child to the factory to one. See below for which characters are affected in which adaptations.
  • Adult Fear: Seeing your children go through terrifying accidents or transformations. Topped off with this gem from the 1971 version, when Mike Teavee is shrunk.
    Mrs. Teevee: Uh, T-T-Taffy? Wh-What's he saying?
    [Oompa Loompa whispers to Wonka]
    Willy Wonka: No, no. I won't hold you responsible.
    [Mrs. Teavee suddenly passes out]
  • The Comically Serious: Mr. Salt is pleasant but all about business and pleasing his daughter, and he doesn't bat an eyelid at any of her demands (be it getting her a Golden Ticket or a pink sugar boat). And he isn't especially fazed by his daughter going down the Nut Room chute, with his reaction to the prospect of her being burned alive turning out to be That Makes Me Feel Angry. Adaptations usually present him as a frazzled, desperate-to-please guy instead, though the 2005 film goes with the novel's depiction and crosses it over with British Stuffiness.
  • Composite Character: Mrs. Salt questions Loompaland's existence in the novel because she's a geography teacher and hasn't heard of it, cueing Mr. Wonka's explanation. In the film and 2013 musical adaptations she's Demoted to Extra or Adapted Out, and whichever Teavee parent accompanies Mike to the factory is given this career instead to retain some version of the dialogue.
  • Doting Parent: All of them! This is a primary reason their children are so bratty. By and large the kids aren't embarrassed by this devotion but rather encouraged by it.
  • Extreme Doormat: Again, all of them, but especially Veruca's father in all adaptations — though the ending of the 2005 film subverts this — and Mrs. Teavee in the 2013 musical.
  • Fainting: Of the emotional kind. Mrs. Teavee does this in the 1971 version (see Adult Fear above), and Mrs. Gloop briefly swoons after first seeing Augustus stuck in the pipe in the 2013 musical.
  • Fat Bastard: Mrs. Salt is explicitly described as "a great fat creature with short legs" and comes off as the rudest of the parents, briefly arguing with Mr. Wonka over whether Loompaland exists or not (after all, she teaches geography and she's never heard of it). Later, when he insists to Veruca that the Square Sweets that Look Round are exactly what he says they are, Mrs. Salt tells her daughter that he's lying — and he tells her "My dear old fish, go and boil your head!" He usually is much stealthier with his insults, so he must be quite annoyed with her.
  • Fat Idiot: Augustus' father in the book (see Skewed Priorities below) and possibly in the 1971 film (see Big Eater there). Mrs. Gloop isn't much better, given her reasoning as to why her boy eats so much: "And what I always say is, he wouldn't go on eating like he does unless he needed nourishment, would he? It's all vitamins, anyway."
  • Flat Character: All of them in the novel. The ones who come along on the tour in adaptations are usually a little more rounded, as detailed below.
  • Foil: To the Good Parents that are Charlie's parents (and grandparents). They all are implied to be at least middle-class or better, can and do give their children everything they want to keep them happy, and virtually never discipline them, with the result that their children are dreadful brats. Charlie's family can barely give him what he physically needs despite their best efforts, but partially compensate for this with their sheer love and care and have raised him to be sweet and virtuous.
  • Hidden Depths: Mrs. Salt, in the novel. It's a throwaway line (and given to Mr. or Mrs. Teavee in both films and the 2013 musical), but she mentions that she is a geography teacher, despite having a rich husband and not having to work.
  • Hysterical Woman: All four mothers, though Violet and Mike's fathers are also reduced to shouting and anxiety by their kids' misadventures. By comparison, Mr. Gloop and especially Mr. Salt are rather calm and collected. Of the mothers who aren't Adapted Out or Demoted to Extra, Mrs. Gloop remains this in all adaptations, as does Mrs. Teavee in the 1971 film and 2010 opera. In the 2005 film, Mrs. Beauregarde becomes an icy Stage Mom and averts this trope. In the 2013 musical, Mrs. Teavee's perpetually anxious nature is given motivation and depth (dealing with her Enfant Terrible son has broken her into a Stepford Smiler, so she's not in the best state of mind to travel through The Wonderland). Also, if it's a mother that gets demoted, rest assured the father will be plenty hysterical enough to compensate.
  • Mama Bear: Mrs. Gloop shows shades of this when she realizes Mr. Wonka finds her son's peril hilarious, "pointing her umbrella at Mr. Wonka as though she were going to run him through" as she berates him. While adaptations usually downplay/eliminate her fury in favor of despair, Douglas Hodge plays this up in the 2013 audiobook version by giving her a much harsher Germanic accent and bossier tone of voice than she's usually depicted as having.
  • Meaningful Name: In the book, Mrs. Salt's first name is Angina, which goes well with her daughter's equally disgusting first name. (She's the only parent with a first name.)
  • My Beloved Smother: Mrs. Gloop approves of and even encourages her son's gluttony partially because she regards it as better than making mischief the way other boys do.
  • My God, What Have I Done?: After each of their children are put through a dangerous situation, it's possible that they realize the errors of their parenting methods. In the novel, Mr. Teavee declares that he's tossing out their TV set as soon as they get home, even as the shrunken Mike protests. Even Mr. Salt in the 2005 film adaptation puts his foot down when Veruca asks for a flying glass elevator as they leave the factory.
  • Overly Nervous Flop Sweat: Mr. Teavee breaks out in this as he and the others wait to see Mike re-materialize on the Television Chocolate monitor.
  • Pretty in Mink: Mrs. Salt, like her daughter, wears a fur coat to the factory in Quentin Blake's illustrations.
  • Pushover Parents: Veruca's parents, who have spoiled her rotten to the point that her father would rather just buy her whatever she wants no matter how outrageous just so he won't have to put up with her tantrums. It is shown in both the 2005 film adaptation and Tom and Jerry: Willy Wonka and the Chocolate Factory that Mr. Salt does learn to say "no" to her though, subverting this ultimately.
  • Skewed Priorities: Augustus might have been saved from his Laser-Guided Karma fate had his father not initially refused to jump into the chocolate river because "I've got my best suit on!" He's taking the suit off just as the boy's being sucked into the pipe.
  • Unnamed Parent: All of them save for Angina Salt. Several adaptations give a few of them first names, but never all of them.
  • We Hardly Knew Ye: Mr. and Mrs. Gloop. In adaptations, Mrs. Gloop follows after her son in that she has virtually no personality to show, since she's gone so quickly that rounding out her character beyond that of a generic Doting Parent would violate The Law of Conservation of Detail. The 2013 musical manages to establish her as an optimistic example of My Beloved Smother in their "I Am" Song, though.

In the 1971 film:

  • Adaptational Heroism: Attempted by Mr. Salt, who willingly goes down the garbage chute in hopes of saving his daughter. In the novel and other versions, the squirrels kick/force him down it when he tries to just pull her out of it/get her away from the squirrels.
  • Adaptational Villainy: As with some of the brats, Mrs. Teavee apparently wants to sell Mr. Wonka's secrets to Slugworth (to her son when he asks whether Slugworth might be interested in the Wonkamobile: "Just keep your eyes open and your mouth shut").
  • Adaptation Name Change: In the novel, Mrs. Salt's first name is Angina. Here it is Henrietta.
  • Adaptation Personality Change
    • Mr. Salt goes from The Comically Serious to frequently frazzled. This does make him somewhat more sympathetic, as does the fact that he jumps into the garbage chute to rescue Veruca.
    • The Demoted to Extra Mrs. Salt comes off as a complete bitch who enjoys watching her husband's life being made a misery by their daughter, rather than the Rich Bitch of the book in her one scene.
    • Mrs Teavee is something of a Know-Nothing Know-It-All in this version.
  • Added Alliterative Appeal: Henry and Henrietta Salt.
  • Big Eater: Augustus' father, to the point that during the interview after Augustus finds his ticket, the man eats the microphone in passing!
  • Bilingual Bonus: A bicultural version! When Mr. Beauregarde asks Mr. Salt what business he's in, he replies "Nuts." To a Brit this may seem like a very straightforward answer, but in the US it's the equivalent of "Get stuffed."
  • Comically Missing the Point: Mr. Salt just laughs when Veruca falls down the garbage chute and Mr. Wonka says it leads to the furnace, but jumps in to rescue her when Mr. Wonka speculates that she could just be stuck inside the chute. "Inside the — Hold on! Veruca! Sweetheart! Daddy's coming!"
  • Demoted to Extra: Mr. Gloop (who has no dialogue), Mrs. Salt (who has two lines), Mrs. Beauregarde (she appears for a second and her voice is heard offscreen), and Mr. Teavee (who has only one line).
  • Extreme Omnivore: Augustus' father eating a microphone!
  • Four-Philosophy Ensemble
    • The Cynic: Mrs. Teavee, a skeptical Know-Nothing Know-It-All who's quite willing to sell out Mr. Wonka's secrets.
    • The Optimist: Mrs. Gloop, who is a case of We Hardly Knew Ye but pleasant and foolishly unaware of how Augustus's habits aren't good for him.
    • The Realist: Mr. Beauregarde, a would-be leader who never misses an opportunity to get ahead in the world, but is also genial and genuinely cares for his daughter.
    • The Conflicted: Mr. Salt, who is so desperate to make his demanding, emotionally-manipulative daughter happy that he's become a Nervous Wreck.
    • The Apathetic: Mr. Willy Wonka, a charming, good-kind-of-crazy Consummate Liar who always holds all the cards.
  • Honest John's Dealership: Sam Beauregarde, or "Square Deal" Sam to you. He's definitely implied to be this during the contract scene.
    "Don't tell me about contracts, Wonka. I use them myself. They're strictly for suckers."
  • Know-Nothing Know-It-All: Mrs. Teavee mistakes Mozart for Rachmaninoff and hasn't heard of Loompaland despite being a geography teacher.
  • Large Ham: Mr. Beauregarde, which is fitting for a guy who's both a used-car salesman and a politician! He even uses the TV coverage of Violet getting her Golden Ticket to try and plug his lot, much to her annoyance.
  • Named by the Adaptation: Henry and Henrietta Salt and "Square Deal Sam" Beauregarde.
  • Nervous Wreck: Mr. Salt, after being put upon by his bratty daughter. His sanity is not exactly aided by the craziness in Mr. Wonka's factory, or when his daughter goes down a garbage chute.
  • Papa Wolf: Mr. Beauregarde is the only parent who actually threatens legal retribution after what happens to his daughter.
    "I'll get even with you for this, Wonka, if it's the last thing I ever do!!"

In the 2005 film:

  • Adapted Out: Mr. Beauregarde.
  • Adaptational Villainy: While all the other parents spoil their kids silly or just let them do what they want, Mrs. Beauregarde is a Competition Freak who has raised her daughter to be the same. She even encourages Violet to keep chewing Wonka's gum despite his protests and what happened to Augustus earlier. When Violet turns into a blueberry, her concern isn't that she's a blueberry, but how she will compete in contests. She even has a Gold Digger vibe going on with Mr. Wonka.
  • Beehive Hairdo: Mrs. Gloop.
  • British Stuffiness: Mr. Salt, as played by James Fox, who with one singular exception is the king of this type of role. Note that Mr. Salt is usually portrayed as British in adaptations, but this is the only one who can be called stuffy.
  • Demoted to Extra: Mr. Gloop, Mrs. Salt, and Mrs. Teavee. None of them get dialogue.
  • Disappeared Dad: Mr. Beauregarde.
  • Extreme Doormat: Mr. Teavee is resigned to the fact that his son is a TV obsessed, insufferable brat and is too timid to control him.
  • Four-Philosophy Ensemble
    • The Cynic: Mrs. Beauregarde, who's cultivated her win-at-all-costs attitude in her daughter.
    • The Optimist: Mrs. Gloop, in a repeat of her situation in the '71 film.
    • The Realist: Mr. Salt, a stuffy Brit resigned to appeasing his daughter — though their experiences in the factory seem to spur him to taking a sterner hand in raising her in the end.
    • The Conflicted: Mr. Teavee, who is resigned to the knowledge that he can't relate to a son who's grown up too fast and is the quietest, most timid of the bunch.
    • The Apathetic: Mr. Willy Wonka, an eccentric with No Social Skills who doesn't care about his charges and just wants to find an heir.
  • Gold Digger: Mrs. Beuregarde seems to be trying to pull this off with Mr. Willy Wonka.
  • Grew a Spine: Mr. Salt, after being traumatized by the events in the factory. When Veruca sees the flying glass elevator as they're leaving and says she wants it, he stands up to her by saying she'll only be getting a bath and that's final.
  • Lady Drunk: How Mrs. Salt is portrayed, complete with the obligatory martini glass.
  • Nice Guy: Mr. Teavee is pleasant enough. You feel more sorry for him than you do his son after the transformation.
  • Stage Mom: Mrs. Beauregarde is clearly pushing her daughter to succeed and exceed her own accomplishments.
  • Seven Deadly Sins: Mrs. Beauregarde's interest in Willy Wonka makes her a representative of Lust!
  • Skewed Priorities: Mrs. Beauregarde is more concerned with how her daughter will be able "to compete" as a blueberry than the girl's actual transformation!
  • Stalker with a Crush: Mrs. Beauregarde shows shades of this towards Mr. Wonka, but she turns threatening after her daughter is turned into a blueberry.
  • Theme Naming: If you look closely, you'll see that Violet's mother is named Scarlett (a shade of red, whereas violet is a shade of blue).

In the 2010 opera:

  • Adaptational Villainy: Veruca's dad goes along with the plan to spy on/videotape the factory. It doesn't help that in this adaptation he runs a candy factory rather than a nut factory. Does he have an ulterior motive in agreeing to Candy Mallow's offer?
  • Adapted Out: Mr. Gloop, Mrs. Salt, Mrs. Beauregarde, and Mr. Teavee.
  • Affectionate Nickname: Lord Salt calls his daughter "lollipop," and Mrs. Gloop calls her son "My little egg-yolk." Call it Edible Theme Nicknaming.
  • Aristocrats Are Evil: Given that he's subjected to Adaptational Villainy, it's telling that Veruca's dad is known as Lord Salt here.
  • Ascended Extra: Again, Lord Salt, owing to his and Veruca's expanded roles.
  • Composite Character: Lord Salt is a combination of his book counterpart and the rival candymakers who bedeviled Mr. Wonka in the Backstory, which isn't discussed in this adaptation.
  • Corrupt Corporate Executive: Well, Lord Salt definitely isn't adverse to spying on his competition...though see Informed Flaw below.
  • Disappeared Dad: Mr. Gloop and Mr. Teavee.
  • Informed Flaw: The Oompa-Loompas describe Lord Salt as "greedy, grasping, rotten" after he and Veruca are tossed down the garbage chute, but there's little reason to suspect he did anything out of his own self interest aside from the detail that he runs a candy factory and thus might have an ulterior motive in going along with the plan to film it after Veruca accepts the offer from Candy Mallow. (That issue is never discussed.) Instead most of his actions are motivated by a desperate need to keep his daughter happy, as the novel and other adaptations, which often treat the character with some sympathy, regarding him as misguided but not evil.
  • Missing Mom: Mrs. Salt and Mrs. Beauregarde.

In the 2013 musical:

  • Adapted Out: Mrs. Salt; the only reference to her is an easy-to-miss line in "Veruca's Nutcracker Sweet":
    Blame her father and her mother that Veruca will reside, With the rubbish and the other wasteful things she tossed aside!
  • Ascended Extra: Mrs. Teavee. A Stepford Smiler Housewife and the Only Sane Adult amongst the tour group members here, she provides a great deal of comedy throughout the show.
  • Bad Liar: Mrs. Teavee. She insists that her son is just a little high-strung rather than an Enfant Terrible, but just running down what he's already done proves he isn't (not to mention that his behavior throughout constantly contradicts her). She also claims to Mr. Wonka that it's "just allegations" that Teavee cheated to find his ticket, and that the flask in her purse contains "homemade lemonade".
  • Big Fun: Mrs. Gloop is a jolly sort, as is her husband. She believes her son to be this as well, but while he is a Cheerful Child, his grotesque gluttony is less this trope and more Fat Bastard.
  • Butt-Monkey: Poor Mrs. Teavee has utterly failed in getting a handle on her son, but is still determined to present herself as a happy Housewife and lives in perpetual anxiety as a result. Her husband seems either disengaged or completely incapable of helping, and legal and medical authorities have proven powerless as well (in fact, since "the authorities request/That little Mike not leave the house" they've effectively managed to make things even worse for her). And now this poor, broken soul is accompanying her son through a place she can't wrap her mind around and watching in horror as the other brats meet a variety of awful instant-karmic fates. The good news for her is that, perhaps because she did try to curb her child's behavior (which can't be said about Mrs. Gloop, Mr. Salt, or Mr. Beauregarde) and was beaten down into becoming an Extreme Doormat, and has suffered so unfairly, when Mike's comeuppance comes her initial anxiety is replaced with Infectious Enthusiasm and when faced with the prospect of a doll-sized son, she decides she doesn't need him to be restored.... Not for nothing does her exit regularly garner audience applause.
  • Creative Sterility: When faced with the wonder that is the Chocolate Room, Mr. Salt thinks it's almost completely pointless (he grants that "the waterfall makes sense", as it doubles as a chocolate mixer) because "it isn't for anything and it doesn't make money". The other brats' guardians aren't much better: Mrs. Gloop thinks "It's a little cupboard of treats for a midnight feast", Mr. Beauregarde thinks it's a set for photo shoots, and Mrs. Teavee thinks "It's therapy." After all, why would anyone create something so elaborate without a "purpose" in mind?
  • Demoted to Extra: Mr. Gloop, Mrs. Beauregarde, and Mr. Teavee.
  • Four-Philosophy Ensemble
    • The Cynic: Sir Robert Salt is a businessman who sees things only in terms of a cost-benefit analysis and kowtows to his daughter because it will shut her up, at least temporarily.
    • The Optimist: Mrs. Gloop is a jolly Fraulein who brushes off concerns over Augustus's appearance/health by claiming it's just "more of him to love".
    • The Realist: Eugene Beauregarde is a savvy agent whose eye for new opportunities for his daughter goes awry when he focuses on that over her safety when she's transformed.
    • The Conflicted: Doris Teavee is a helpless Stepford Smiler who just wants a happy home, and thus is under her son's thumb.
    • The Apathetic: Mr. Willy Wonka is eccentric, mysterious, wacky and aloof, with goals and motivations the other four do not understand.
  • House Wife: While she is a geography teacher, Mrs. Teavee has all the trappings of the classical stereotype of this trope to the point that (as Mr. Wonka puts it) she's "dressed for 1958!" From the beginning, however, it's clear that she's a Stepford Smiler broken by her son's Enfant Terrible "hijinks".
  • Large Ham: Although this adaptation is set in a World of Ham, Mr. Beauregarde is notable as the second-largest ham amongst the adult characters after Mr. Wonka himself, which makes sense given the former's showbusiness background.
  • Lazy Husband: Possibly Mr. Teavee; he seems (depending on how the actor delivers his one line — "What?") either unwilling, unable, or just plain clueless to do anything to help his wife get a handle on Mike and spends his one scene reading the newspaper while the press conference is going on.
  • My Beloved Smother: Mrs. Gloop is this even more than in other versions — she loves to prepare goodies for her son and thinks he's more adorable the fatter he gets! Mrs. Teavee also has shades of this after Mike has shrunk, stating that now she can look after him all day. "Just like I did when you were a tiny little baby!"
  • Named by the Adaptation: Sir Robert Salt, Eugene Beauregarde, and Doris and Norman Teavee.
  • Nervous Wreck: Poor Mrs. Teavee, for reasons that should be obvious considering the other tropes she falls under.
  • Never My Fault: When Mr. Wonka — who's already noted that the gum Violet starts chewing as soon as it's within her reach, before he can even explain what it is, has "a problem with the dessert" course — warns her to stop chewing it before she hits blueberry pudding, Mr. Beauregarde tells her "Ignore him, Vi! You chew, girl. Do it!" As her transformation into a blueberry begins, the appalled father shouts to Mr. Wonka "What have you done to her?"
  • Only Sane Man: Mrs. Teavee is truly intimidated and scared by The Wonderland that is the factory and the fates of the others throughout (though Mr. Salt qualifies as this during "Juicy!" as well, when even Violet's own dad ignores the danger she's in), while the others are unnerved but still willing to go on with the tour even as catastrophes mount. Ironically, she's the parent who winds up making a Heel–Face Turn of a sort when she gets swept up in "Vidiots", "The Villain Sucks" Song for Mike.
  • Pushover Parents: Mr. Salt and Mrs. Teavee both qualify. The former loves his daughter too much to deny her anything, and the latter only makes token attempts to discipline her son (partially out of fear), though she's proud to say that he only smokes two packs of cigarettes a day now.
  • Skewed Priorities: The ever-moneymaking Eugene Beauregarde, who uses Violet for his own gain and is far more concerned about her marketability than her welfare when she undergoes her transformation. While "Juicy!" is primarily "The Villain Sucks" Song for Violet's undoing, the Oompa-Loompas point out his part in making her a spoiled, mindless brat: "Daddy wanted her to be the main attraction/Now everybody's talkin' 'bout 'Juicy'!"
  • Stepford Smiler: Mrs. Teavee tries to be the perfect House Wife as a way of dealing with/denying her Enfant Terrible son. In fact, she's on even more medication than he is, and has a drinking problem.

In the 2017 Broadway Retool:

  • Adapted Out: Mr. Gloop, Mrs. Salt, Mrs. Beauregarde, and Mr. Teavee.
  • Affectionate Nickname: Mr. Salt calls his daughter "Verooshka" and Mrs. Gloop calls her son "my tiny little pickle."
  • Named by the Adaptation: Oleg Salt and Ethel Teavee. Mr. Beauregarde keeps his first name from London.

    The Oompa-Loompas 

Played by:
Deep Roy (2005 film)

So how does Willy Wonka's factory produce sweets when no one is seen entering or leaving it? Well, during the time his factory was closed, he discovered a tribe of doll-sized people in faraway Loompaland, a Death World of carnivorous beasts. When he learned that the Oompa-Loompas loved cacao beans (the basis of chocolate), he offered them jobs in his factory with payment in the form of said beans, and they all took him up on it. The loyal little workers are fond of making music and singing, and serve as a Greek Chorus as the Golden Ticket finders tour the factory.

In the books and most adaptations

  • Blatant Lies: The Oompa-Loompas assure everyone "Augustus Gloop will not be harmed", and then the song changes that "We must admit he will be altered quite a bit" as they detail all the machinery processes that will turn him into fudge. Sure he won't be harmed!
  • Bowdlerise: The original book's description of the Oompa-Loompas was altered in the early 1970s to make the general concept less overtly racist. In the original 1964 edition, they were black African pygmies rather than Caucasian, golden-brown haired inhabitants of Loompaland.
  • Crowd Song: Their specialty is performing this, and said songs usually count as Morality Ballad and "The Villain Sucks" Song. Between the novels and adaptations, it's exceedingly rare to hear them speak.
  • Greek Chorus: They're probably the most famous modern example of this trope, closing out chapters with their songs commenting on the bad kids' (and Grandma Georgina's in the sequel) fates.
  • Happiness in Slavery: The Oompa-Loompas work and live in Mr. Wonka's factory for cacao beans, and are apparently thrilled with the arrangement. This could also have something to do with the value of the beans in their native culture where they are extremely scarce. To put it in perspective: imagine being paid in personal love slave services, recreational drugs, video games or your favourite vice. Another part of the reason why they may be so happy working for Mr. Wonka is because, while they do now have to work for their cacao beans, they are also allowed to live in comfortable housings in the factory, which is a fairly safe working environment. Back in Loompaland, they lived in rickety treehouses, survived primarily on mashed caterpillars, and spent their lives trying to hide from the variety of terrible monsters that also lived in Loompaland and which would devour Oompa-Loompas by the dozens if they could. Having to make chocolate in a strange land isn't much sacrifice when you didn't like your homeland in the first place and it means you don't have to worry about being eaten for breakfast, lunch, dinner or a between-meals snack. That said, there is the fact that he uses them for testing the side effects of his confectionery, sometimes with (it's implied) FATAL results.
  • The Hyena: In the book, they laugh at everything. Completely eliminated in both movies — in the 1971 movie they never so much as smile, much less laugh, and in the 2005 movie they're a little more emotive but have one very brief giggle fit. On the other hand, in The Golden Ticket their (sung) laughter is a recurring melody. And while they don't laugh much in the 2013 musical, they're terribly gleeful and fun-loving all the same.
  • The Illegal: Technically they're all this! Mr. Wonka explains "I smuggled them over in large packing cases with holes in them, and they all got here safely." Of course, they're generally better off than most examples of this trope, but still, this detail is startling to modern readers.
  • Lilliputians: Dahl describes the adults as having the stature of "medium-sized dolls", with one coming up to about Mr. Wonka's knee. Oompa-Loompa children (the tour group sees some during their first trip via the Great Glass Elevator) are "no more than four inches high". Adaptations usually go with the stature of Real Life little people instead; the 2005 film is closest to the original description, but winds up subject to Your Size May Vary (see below).
  • Little People: As mentioned above, Roald Dahl describes them as doll-sized, with adults reaching Wonka's knee and children only a few inches high. Adaptations tend to depict them as regular humans with dwarfism, though.
  • Nightmare Fetishist: Mr. Wonka notes "I must warn you, though, that they are rather mischievous. They like jokes" in the early going. Their sense of humor turns out to be extremely dark, given that between both books many of their songs lovingly detail horrible things (the fates of the brats, Plot Parallel stories related to vices, what they worried happened to their boss while he was away for the first half of Great Glass Elevator). Given that their boss fits both tropes, this isn't exactly surprising. This is eliminated in the 1971 film, where the book's songs are replaced with a boilerplate Morality Ballad that's based on just delivering the Aesop of the moment, and slightly downplayed in the 2005 film owing to them being The Comically Serious rather than The Hyena.
  • No Name Given: None of them are referred to by names of any kind in the novels and most adaptations. The two exceptions are the 2005 film (the one female Oompa-Loompa seen is named "Doris") and the 2013 stage musical (in which Mr. Wonka apparently knows all their names).
  • Obsessed with Food: Cacao beans were incredibly rare in Loompaland, yet were "The one food they longed for more than any other" according to Mr. Wonka. This was the primary reason why they were willing to become his workers — they can enjoy all the cacao beans they want in his factory.
  • Talking Is a Free Action: Everything stops for the Oompa-Loompas to sing the moral, even when Veruca falls down a chute that leads to an incinerator. (It's only lit every OTHER day. They've got time. And if she's cooked...well, nothing to be done and they STILL have time! Or she could just be stuck in the chute, so they've got time in that case as well.)
  • Trademark Favorite Food: Cacao beans, to the point that said beans and/or chocolate are what they're paid in as employees of Mr. Wonka.
  • Worthless Yellow Rocks: The Oompa-Loompas highly value the cacao bean, something Willy Wonka happens to have plenty of.

In the 1971 film
"Oompa-Loompa, doopity-do, I've got a perfect puzzle for you..."
  • Amazing Technicolor Population: They have bright orange skin and green hair. The book hadn't yet been Bowdlerised when it was made, and the filmmakers didn't want to use the African pygmy description, so they went with a look that was "exotic" yet avoided the political incorrectness of the original.
  • The Comically Serious: They never laugh, giggle, or even smile.
  • Lost in Imitation: In the novels (and illustrations for them) the Oompa-Loompas are simply unusually small Caucasian people who wear deerskins (men) or garments of leaves (women). Other adaptations go in their own directions with regards to their wardrobes. But most people think of them as an Amazing Technicolor Population clad in white overalls thanks to this film.
  • Number Two: Rusty Goffe was designated "head Oompa-Loompa." He's the one who receives instructions from Wonka throughout the film.

In the 2005 film
"Augustus Gloop, Augustus Gloop, the great big greedy nincompoop..."
  • Adaptation Personality Change: From The Hyena to The Comically Serious, effectively turning them into the straight men to Willy Wonka.
  • Busby Berkeley Number: The Oompa-Loompas do one during the Augustus Gloop song.
  • The Comically Serious: Aside from the aforementioned giggle fit, they are absolutely deadpan and quiet throughout the movie (though it turns out one of them is the Narrator All Along) when they're not in the midst of musical numbers — and even those they take quite seriously.
  • Freudian Couch: One of them serves as a therapist for Willy Wonka near the end!
  • Race Lift: Because all of them are played by one Indian actor, they get a majority-to-minority race lift by default.
  • The Smurfette Principle: Out of the hundreds upon hundreds of Oompa-Loompas in this version, only one female — a secretary named Doris — is seen onscreen! This is actually an improvement on most illustrations and adaptations, which don't depict any Oompa-Loompa women even though the novel makes it clear that they exist. (The only version with an about-even ratio of male to female Oompa-Loompas is the 2013 stage musical.)
  • Strange Salute: They salute by crossing their arms over their chests — this may be a Shout-Out to Plan 9 from Outer Space.
  • Your Size May Vary: They vary in size from about 18 inches (46 cm) tall to Deep Roy's actual size.

In the 2013 musical:

  • Adaptational Villainy: They gleefully sing about the fates of each children. Particularly with Augustus, where they can't wait for him to turn into fudge. Taken even further in the Broadway staging, where they cheerfully sing that "[Veruca's] ballet career is looking grim/As we tear her apart from limb to limb."
  • I'm a Humanitarian: They're disturbingly eager to eat the "candied pork" that Augustus Gloop will be turned into.

Deleted or Adaptation-Specific Characters

     Miranda Mary Piker 
A character who was cut from the novel: an insufferable brat allowed to do anything she wanted, and who never missed a day of school in her life. She believes children should never laugh or have fun. Along with her father — a school headmaster — she met her end when she tried to smash a Spotty Powder machine (said powder allowed kids to play sick so they could have a day off from school). This caused them to fall to their apparent deaths, but Mr. Wonka revealed that what sounded like screams were them laughing for the first time in their lives. Spotty Powder and Other Splendiferous Secrets (The Missing Golden Ticket and... in the U.S.) features rough draft material from this subplot.

  • Academic Alpha Bitch: She's spoiled and brainy. She never missed a day of school in her life. She's the daughter of the school headmaster. She's allowed to do what she want, but she hates having fun and other children having fun.
  • All Work vs. All Play: She's all work to an extreme.
  • Arson, Murder, and Jaywalking: Her crimes are an inability to have fun and a superior attitude to others, being a teacher's pet, and having a headmaster for a father, which seem minor next to those of the canonical brats (save for Violet).
  • Brainy Brunette: Quentin Blake's illustrations in Spotty Powder give her brunette hair with...
  • Hair Decorations: Her long braids have tied ribbons at the ends.
  • Insufferable Genius: She's described as having a superior attitude to everybody else.
  • Just Desserts: The Oompa-Loompa song about her claims that she will be turned into peanut brittle. (As in the song about Augustus Gloop, they regard this as an improvement.)
  • Seven Deadly Sins: She is another facet of Pride in her Insufferable Genius manner.
  • Smart People Wear Glasses: In the illustrations.
  • Spoiled Brat: In an unusual way; she's allowed to do whatever she wants, but she doesn't want to do things that are conventionally pleasurable for kids and doesn't want other kids to do them either. This is a sharp contrast to the canonical brats, who are all hedonistic.
  • Take That!: She and her father were likely jabs at the schools Roald Dahl went to as a child, and the teachers in them.
  • Teacher's Pet: Perhaps inevitable, given that she's the daughter of a headmaster.
  • Uncertain Doom: Her actual fate isn't mentioned in the material that's been published. But given that the worst that happened to some of the bratty kids was turning into freaks, it's possible that the most that happened to Miranda and her father was being unable to stop laughing.
  • Zettai Ryouiki: Her illustrations show her with socks that extend to below the knee. Possibly over the knee, depending how you look at it.

     Mr. Arthur Slugworth
"I congratulate you, little boy. Well done."
Played by:
Günter Meisner (1971 film)
Phil Philmar (2005 film)
Mick Wingert (Tom and Jerry: Willy Wonka and the Chocolate Factory)

One of Mr. Wonka's underhanded rivals in the field of candymaking, he's only mentioned in passing in most versions but is an Ascended Extra in Willy Wonka & the Chocolate Factory. He approaches all five Golden Ticket finders in turn with the offer of even greater riches than what Mr. Wonka's promised if, during the tour, they manage to get a prototype Everlasting Gobstopper for him...

  • Adaptation Expansion: In this film, he provides the major subplot.
  • Ascended Extra:
    • In the book and other versions, just one of Mr. Wonka's rivals and an Unknown Character; in the movie, a major supporting character and in the end actually an employee of Mr. Wonka! As part of the kids' (but especially Charlie's) Secret Test of Character, Mr. Wilkinson pretends to be Mr. Slugworth, making him a Good All Along Reverse Mole. Thus, most of these other tropes are intentionally invoked.
    Charlie: It's Slugworth!!!
    Wonka: NO! NO! NO! That's not Slugworth, He works for me!
    Charlie: He does?
    Wonka: Yes, We had to test you, Charlie. And you passed the test, YOU WON!
    • His role gets extended even further in Tom and Jerry: Willy Wonka and the Chocolate Factory, where he goes into the factory, apparently with the intention of getting the gobstopper off Charlie and then betraying him. It turns out that he's just keeping an eye on Charlie, however, and tries to get rid of Tom and Jerry so that Wonka won't think Charlie deliberately brought them into the factory and throw him out.
  • Corrupt Corporate Executive: One of many who bedevilled Mr. Wonka before he became a recluse — and he's still at it even now.
  • Demoted to Extra: Subverted by the 2005 adaptation, where he only very briefly appears in a flashback sequence narrated by Grandpa Joe. However, this is actually the real Slugworth, as opposed to his other two appearances, where he's actually Wonka's employee Mr. Wilkinson.
  • Devil in Plain Sight: Charlie (and later Grandpa Joe) appear to be the only characters who are unnerved by him, even when he turns up at Mr. Salt's factory just in time for a worker to find a Golden Ticket for Veruca. (With the other brats, he blends in with members of the press to get access to them.) Of course, it probably helps that the four brats are greedy enough not to have any qualms with his offer in the first place.
  • Evil Plan: He exploits Mr. Wonka's contest by approaching and bribing the Golden Ticket finders to steal a prototype invention for him, which he will figure out and duplicate to get it to the market first. It's a lie to see who would be greedy enough to take the deal.
  • Evil Wears Black: He wears a black suit.
  • Four Eyes, Zero Soul: Averted. It's all an act.
  • Good Scars, Evil Scars: He has a scar on his face.
  • Meaningful Name: Just like slugs, he's a slimy sort of guy.
  • Named by the Adaptation: He's just known as Slugworth in the book.
  • Obviously Evil: He's an example of Obviously Evil Appearance, considering all these surrounding tropes.
  • The Rival: While Mr. Wonka has many rivals, in the movie Slugworth is said to be the worst out of all of them.
  • Satanic Archetype: He's a jealous rival of the mysterious and seemingly godlike Wonka, and he appears to five children and offers to give them unimaginable wealth if they betray Wonka. Ultimately, he turns out to be Mr. Wilkinson, an actor hired by Wonka to pose as the real Slugworth and test the children's loyalty. This is actually a good representation of the Jewish idea of Satan, since according to Judaism, Satan is on God's side and only tempts mortals in order to test their faith.
  • Secret Test: The Slugworth plot serves to show that at least some of Mr. Wonka's quirkiness is Obfuscating Stupidity so that no one forms any outside attachment to him.

     Dr. Wilbur Wonka ( 2005 film only)
Played by:

Why is the 2005 incarnation of Willy Wonka so much more of a Manchild than others? It has to do with a heretofore unknown Backstory involving his dentist father...

  • Alliterative Name: Just like his son.
  • Anti-Villain: A combination of Skewed Priorities and honest concern for his son's health drives his actions. When he finds that his son effectively wants to become his career antithesis, he chooses to abandon him.
  • Canon Foreigner: The most significant one in any adaptation to date.
  • Depraved Dentist: Subverted — he has the sinister air of this trope, but is really just an extremely Overprotective Dad.
  • Fantasy-Forbidding Father: He is a dentist who doesn't allow his son to eat candy, driving Willy to rebel against him to achieve his dream of being a chocolatier.
  • For Your Own Good: His harsh anti-candy stance is motivated by this. He's willing to let his son trick-or-treat on Halloween, but he takes the candy and throws it into a fire, piece by piece, as he lectures the boy about the downside of sweets. It's implied that in hindsight, he realized he Was Too Hard on Him.
  • I Have No Son: He relocates his house when young Wonka runs away, so he cannot go back. Subverted: Charlie finds out that Wilbur collected various newspaper articles about his son's success in the years since, which are posted on the walls of his office.
  • Karma Houdini: Given that he abandoned his son, the story lets him off lightly. Granted, he seems to regret what he did and perhaps he thought he couldn't be forgiven for it, but still, given what happens to other characters here for lesser actions...Lucy Mangan's retrospective on the source novel and adaptations notes that Roald Dahl likely would not force Willy Wonka to forgive and reconcile with his father, given how similar situations are handled in his books.
  • Overprotective Dad: For the sake of his son's teeth, he forbade all candy and made young Willy wear horrible braces and headgear. Interestingly, he may have had a point with the latter. He recognizes the adult Willy by his distinctive teeth, suggesting the boy really did have a problem that the braces corrected.
  • Skewed Priorities: His obsession with healthy teeth and disdain for sweets seems to trump all.
  • Sliding Scale of Parent-Shaming in Fiction: Type II initially (bad parent), but escalates to Type III (bad person) when he ensures his runaway son cannot return to him, leaving the boy to fend for himself. He regrets this, however.

     The 2013 Musical's Spoiler Character (West End only) 

The Tramp / Mr. Willy Wonka

Played by (Original London Cast Recording):
Douglas Hodge

Savvy viewers will suspect it beforehand, but The Reveal in the final moments of this adaptation is that that the elderly tramp Charlie Bucket encounters at the dump during Act One is actually Mr. Wonka in a disguise. (The 2005 musical Roald Dahl's Willy Wonka and The Golden Ticket have similar twists — he becomes a Composite Character with the sweetshop owner — but the disguises are near-transparent in those versions and there is no reveal. The Broadway retool follows suit, but Wonka establishes his plan at the top of the show) The following additional tropes apply to this version of the character and the show as a whole, but can't be revealed/discussed above or on the show's main page due to their spoileriffic nature.

  • Adaptational Heroism: A complex example: While he is the reason Charlie gets a Golden Ticket in the first place, this information is kept from the audience until the last possible moment. Moreover, if his kindness to the worthy is expanded upon in this version, so is his disregard for the unworthy, making him truly AntiHeroic!
  • Adaptation Expansion: Not a huge amount of expansion compared to other versions, but significant nonetheless.
  • And the Adventure Continues: The reason he is seeking a successor in this version is because there's so much more he wants to create and accomplish in his life, but the day-to-day duties of running the factory are keeping him from doing so. Once he installs Charlie as his successor, he leaves his old life behind to pursue new dreams elsewhere in other worlds.
  • Anonymous Benefactor: To Charlie.
  • Because You Were Nice to Me: It's likely that few in the world of this show would show basic politeness to a grumpy old homeless man, but Charlie (perhaps owing in part to his own humble background) is so good-natured and nonjudgmental that he is open and friendly to him. He's completely unaware that the tramp is actually someone very powerful who happens to be seeking a good child to become his heir, and if Charlie can be nice to the lowest-of-the-low, it stands to reason... That Charlie also shows a genuine appreciation of Mr. Wonka's work means a great deal to the latter, who's long felt taken for granted, and from that meeting on the boy is an unknowing Morality Pet whose path to an incredible happy ending is Mr. Wonka's work...with a few hoops the boy must jump through placed along the way to thoroughly test his kindness and creativity.
  • ...But He Sounds Handsome: When Charlie explains to the tramp that he only collects Wonka Bar wrappers, he compliments the boy on his taste: "Ah, you're a connoisseur!"
  • Canon Character All Along: And the lead at that.
  • Cast as a Mask: Averted. To hide this, the tramp isn't mentioned in the cast list.
  • Character Development: Subtly so. As Douglas Hodge sees it, Mr. Wonka "lost his faith in innocence" over time, disillusioned with/by a cynical adult world, and developed a Sugar-and-Ice Personality. He also feels wanderlust to bring other wonderlands he's imagined into being, but he loves his factory too much to leave the beautiful, strange world within it to just anyone. (Hodge noted in a interview that he's thus "put himself on the scrapheap" — a Pun once one learns this plot twist.note ) When he meets Charlie in his tramp disguise, he quickly realizes that the boy is everything he's looking for in a successor, and his Hidden Heart of Gold is moved to action. As he leaves at the end, Mr. Wonka regards the whole business as putting the past behind him...which would mean he's put the disappointments that came with it behind him as well.
  • Chekhov's Gunman: To those who are not familiar with The Law of Conservation of Detail, the tramp would appear to be a mere Canon Foreigner used to help establish Charlie's character in the early going...
  • Deus Ex Scuse Me: He intentionally invokes this trope in the Imagining Room so Charlie's Secret Test can take place: He tells Charlie and Grandpa Joe that the latter has to come with him to another room to take care of legal paperwork, which is "grown-up stuff", so Charlie has to stay behind...alone...and not touch anything...
  • Establishing Character Moment: His very first lines as the tramp — "Look at this mess. People just guzzle up their chocolate and throw away the wrappers without the slightest thought." — serve as this in hindsight. As successful and wealthy as he is thanks to people craving what he creates, he is still a sensitive artist at heart and deeply hurt to see his work being taken for granted. By the same token, he is touched to see poor Charlie vicariously appreciating it by collecting the discarded wrappers.
  • Foreshadowing: There are several minor details/lines of dialogue that hint at the tramp's true identity and become obvious in hindsight.
    • He carries a walking stick; in fact, his whole disguise (see Wig, Dress, Accent) turns out to be the dreary, wintry counterpart to his glamorous true look.
    • He takes a seat in a broken British telephone box at the dump. Now, what does this version's Great Glass Elevator resemble?
    • When Charlie explains that he's glad that others litter — "If people didn't throw things away, I'd have nothing to pick up." — he replies "Very philosophical, I'm sure." The line hints at Mr. Wonka's eccentric-yet-deep way of thinking and his Deadpan Snarker nature!
    • The Leitmotif of the scenes at the dump turns out to be a chiming arrangement of "A Little Me", the song Mr. Wonka conducts in the entr'acte and performs as the show's last big production number.
  • The Fourth Wall Will Not Protect You: A cheeky variant, in that the prospect of this Willy Wonka entering the audience's world to continue his work can be seen as either marvelous or terrifying...or perhaps both...and he seems well aware of this!
  • Good Hair, Evil Hair: As the tramp he has a full, long beard, the kind associated with "wise old wizard"/mentor characters. This is primarily a disguise, of course — even more so if Mr. Wonka turns out to be clean-shaven — but the connotations of the look bear noting. It's also a Beard of Sorrow after a fashion, reflecting his initially lonely, self-pitying mood.
  • Grumpy Old Man: This is how he initially comes across as the tramp, but encountering Charlie causes him to take a modest level in cheerfulness.
  • Hidden Heart of Gold: He rigs his own contest because Charlie is worthy of a chance to inherit his factory but won't be able to find a ticket on his own. He's the only person outside of Charlie's own family who sees his potential — everyone else sees him as, to quote Cherry, an "unlikely urchin". For Mr. Wonka it's as easy for him to realize that the boy is a diamond in the rough as it is to recognize each brat as a Devil in Plain Sight when the rest of the world doesn't. In order to execute a proper Secret Test, he treats Charlie as The Runt at the End come tour day, makes no Pet the Dog gestures towards him, and keeps this feigned disdain up until his climactic I Have Just One Thing to Say speech, whereupon his kindest nature emerges.
  • Imagination-Based Superpower: In the closing moments, he bids his factory — and Charlie, who sees him from a window and waves — adieu so that he can travel to places "That are not yet conceived/That are not yet achieved/And they must be believed/To be seen..." As the orchestra sounds the final chord, he vanishes in full view of the audience — effectively teleporting away and leaving the implication that his mind and specifically his imagination is just that powerful. Perhaps he's hit Brain Critical Mass with the sheer number of ideas he has?
  • I Never Told You My Name: No one thinks anything of it, but Mr. Wonka is able to address Grandpa Joe by name when they are introduced at the factory because Charlie mentions him during "Almost Nearly Perfect". For that matter, he learns Charlie's name during that number by simply asking him "Young man, what did you say your name was?" Charlie didn't say to begin with.
  • King Incognito: As an eccentric recluse with a mysterious image to maintain, Mr. Wonka likely sees assuming a humble identity as the only way he can venture outside his factory.
  • Long Last Look: The last thing he does, before teleporting away to who-knows-where, is take one long, last look at "my friend, my factory".
  • Master Actor and Master of Disguise: Beyond the heavy physical disguise, the lively, quick-on-his-feet Mr. Wonka affects a plodding walk and an air of weariness as the tramp. He is also able to conceal his true Large Ham nature. Moreover, his address to the audience in the final scene suggests that he can assume other disguises and identities as well, all the better to hide in their world.note 
  • Morality Pet: Charlie, though he doesn't know it, can defrost Mr. Wonka's Sugar-and-Ice Personality and bring out his kindest nature for several reasons: The boy appreciates his work in a way that others don't, he shows him unconditional kindness and politeness no matter what "form" he takes, and he reminds him of his own childhood self. (Again, there's some Rewatch Bonus here — pay attention to his reaction to Charlie's reaction to the sight of the Chocolate Room, or the boy insisting that "an Everlasting Gobstopper is still an amazing present.")
  • No Name Given: As The Tramp.
  • Old Beggar Test: An unusual example of the trope since his meeting Charlie in disguise is a Contrived Coincidence rather than planned, and Charlie innocently, unknowingly proves his worth to him by just being his imaginative, appreciative, polite self rather than helping a stranger upon being asked.
  • Rule of Three: The tramp appears three times — twice in Act One, and finally in the last moments of the show.
  • Shapeshifting Excludes Clothing: When he vanishes, his disguise lands on the ground in a heap.
  • Shocking Voice Identity Reveal: The audience last sees Mr. Wonka in his tramp disguise and realizes that they are one and the same as soon as he begins singing in his "true" voice.
  • The Three Faces of Adam: Charlie is the Hunter, while Mr. Wonka is both the Lord and the Prophet — he wants to create new works elsewhere, but not before he finds someone who can ensure the continued success of the factory, which he still cares deeply about. His masquerade as the tramp is the visualization of his Prophet aspect: elderly, world-weary, fearful that the values he cherishes (innocence and creativity in particular) mean nothing to younger generations. As Charlie has more in common with Mr. Wonka than he realizes — not for nothing is the Pep-Talk Song Wonka sings to him called "A Little Me" — it's more pronounced than in other versions that the two are distinct-yet-related aspects of one metaphorical being. Among touchpoints between the two:
    • They are the only characters who get solo songs (two apiece).
    • They are the only characters who have Catch Phrases.
    • Each gets a bit of stage business in which they send something into the air: Charlie "sends" his letter to Mr. Wonka by folding it into a paper airplane and casting it to the winds (whereupon it "flies" up to the balcony). During "Simply Second Nature", when a sudden wave of his walking stick reveals a butterfly perched upon it, Mr. Wonka gently takes it in his hand and releases it into the air.
  • The Tramp: Mr. Wonka didn't choose his alter ego lightly. On the one hand, it's a reflection of his wanderlust, a desire to be free to travel infinite worlds and just create. On the other, it reflects his inner fear that the outside world may love his sweets but has turned its back on all he stands for, leaving him a "forgotten man" with no real purpose in the larger scheme of things.
  • Wham Line: His Triumphant Reprise of "It Must Be Believed to Be Seen" serves as Mr. Wonka's way of revealing to the audience 1) he was the tramp, 2) he's only retiring from running the factory, not from creating things, and 3) he's traveling to their world next! Even if one has guessed the first part, the second and third parts are definitely Not His Sled surprises.
  • Wig, Dress, Accent: The basis of his disguise. Wig: Straggling, graying hair and a full beard to go with it. Dress: A tattered overcoat, scarf, cap, and gloves in varying shades of gray and black, with sagging boots to complete the ensemble. Accent: A ragged-with-age, lower-pitched voice.
  • Your Favorite: In the opening scene, Charlie mentions that the Whipple-Scrumptious Fudgemallow Delight is his favorite variety of Wonka Bar. Mr. Wonka remembers this detail and uses it to engineer Charlie's Golden Ticket find.

Alternative Title(s): Willy Wonka And The Chocolate Factory